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CATALOGUE
OF THE
BRONZES
GREEK, ROMAN, AND ETRUSCAN,
IN THE
DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES,
BRITISH MUSEUM.
BY
H. B. WALTERS, M.A., F.S.A.,
ASSISTANT IX IHE DEPARTMENT.
LONDON :
PRINTED BY ORDER OF THE TRUSTEES.
So'd at the British Museum, and by Messrs. Longmans & Co., 39, Paternoster Row;
Mr. Bernard Quaritch, 15, Piccadilly; Messrs. Asher & Co., 13, Bedford Street, Covent Garden
Messrs. Kegan Taut,, Trench, Trubner & Co., Paternoster House, Charing Cross Road ;
and Mr. Henry Frowde, Oxford University Press Warehouse, Amen Corner.
1899.
\.l// rights reserved?^
LONDON :
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,
STAMFORD STREET AND CHARING CROSS.
"UcGns~
/ 1
PREFACE.
Tins Catalogue of Bronzes, prepared by Mr. H. B. Walters, has been
revised by myself, and also by Mr. Cecil H. Smith and Mr. Arthur H.
Smith.
In the INTRODUCTION Mr. Waiters has discussed the methods of
ancient bronze work, its artistic character and its uses. It seemed advisable
that this should be done at some length because attention has frequently
been called to the want of a continuous statement of this kind in English.
A. S. Murray.
Department of Greek and Roman Antiquities,
February, 1899.
TABLE OF CONTENTS.
TAGE
Preface Hi
Table of Contents v
List of Plates ix
Introduction :
I. Historical Account of the Collection xiii
II. History of Bronze-working in Antiquity xvii
III. Greek Bronze Work xxxvii
IV. Etruscan Bronzes xliv
V. Gaulish and Graeco-Roman Bronzes liii
VI. Personal Ornaments and Implements :
i. Fibulae lix
2. Seal-Boxes lxii
3. Finger-Rings .......... lxiil
4. Surgical Instruments ......... lxiv
5. Razors ............ lxv
6. Locks and Keys .......... lxv
7. Arms and Armour :
A. Homeric .......... Ixvi
B. Greek lxvii
C. Italian lxix
CATALOGUE OF BRONZES.
I. BRONZES HISTORICALLY GROUPED.
A. Greek Bronzes (1-336).
I. Mycenaean period (1-118).
A. Rhodes and other Greek Islands (1-48). .... I
B. Cyprus (49-1 14) 4
C Caria (115-118) 8
VI CATALOGUE OF BRONZES.
T T /-» -1 PAGE
11. Geometrical period (i 19-186).
A. Thebes (119-131) 9
B. Rhodes (132-178) IO
C. Unclassified early Bronzes (179-186) ... 1 3
III. Archaic Greek Bronzes (187-264) . ... 15
IV. Greek Bronzes of the Best period, 460-300 B.C. (265-336).
A. Statuettes (265-284) 33
B. Reliefs (285-311) 39
C. Miscellaneous Objects (312-336) ..... 47
B. Etruscan and Early Italian Bronzes (337-785).
I. Primitive period before Greek Influence (337-446) ... 52
II. Archaic period (447-601).
A. Statuettes (447-539) ........ 6 1
B. Archaic Etruscan Mirrors, etc. (540-552) .... 74
C. Cistae, Vases, Candelabra, etc. (553-601) .... jS
III. Period of finest Etruscan Art (601-669).
A. Statuettes (601-616) 89
B. Mirrors (617-636) 91
C. Cistae, Vases, etc. (637-669) . . . . . . IOI
IV. Late Etruscan Bronzes of Free Style (670-785).
A. Statuettes (670-694) . . . , . . m , \\\
B. Mirrors (695-740) . . . . . . # _ I 1 5
C. Cistae, Vases, Candelabra, etc. (741-785) . . . . 1 29
C. Gallo-Roman and Graeco-Roman Select Bronzes (786-908).
I. Bronzes from Gaul, mostly of local workmanship (786-824) . 142
II. Select Graeco-Roman Bronzes (825-908).
A. Statuettes, Busts, and Reliefs (825-863) . . . . 1 48
B. Miscellaneous Objects (864-884) I 56
C. Inscribed Objects (885-908) 1 65
TABLE OF CONTENTS.
Vll
D. Statuettes of the Graeco-Roman Period (909-1928).
I. Olympian Deities (909-1325).
A. Zeus, Hera, etc. (909-957) .
B. Marine Deities (958-975)
C. Agricultural Deities (976-986)
D. Apollo and kindred Deities (987-1030)
E. Hephaestos, Athene, and Ares (1031-1078)
F. Aphrodite (1079-1124)
G Eros and kindred types (1125-1194)
H. Hermes (1195-1241) .
I. Heracles (1242-1325) .
II. Miscellaneous Deities and Heroic Figures (1326-1582)
J. Dionysos, Satyrs, and Maenads (1326-1428) .
K. Various Deities, Heroic Figures, etc. (1429-1455)
L. Isis and Harpocrates (1456-1508)
M. Roman Deities (1509-1582) .
(a) Agricultural (15 10-1523)
(b) Fortune (1 525-1 546) .
(c) Victory (1548-1561) .
(d) Lares ( 1 562-1 580)
III. Miscellaneous Statuettes and Busts (1 583-1728)
IV. Monsters and Animals (1729-1928)
170
175
178
179
186
192
199
207
212
222
234
238
246
246
249
252
254
257
274
II. IMPLEMENTS AND UTENSILS (1929-3188).
A. Personal Ornaments (1929-2312).
1. Fibulae, Brooches, etc. (1929-2224)
2. Seal-boxes (2225-2242) .
3. Finger-rings (2243-2312)
290
307
308
B. Surgical and Other Instruments (2313-2382) .
313
C. Objects used in Toilet (2383-2456).
1. Pins (2383-2393)
2. Miscellaneous Implements (2394-2419)
3. Strigils and Bath Implements (2420-2456)
317
317
319
Vlll CATALOGUE OF BRONZES.
PAGE
D. Cooking Utensils and Vases (2457-2512) 322
E. Lamps, Candelabra, and Furniture (2513-2585).
1. Lamps (2513-2542) 326
2. Candelabra (2543-2558) 328
3. Furniture, etc. (2559-2585) . . . . . . . 330
F. Locks and Keys (2586-2668) 333
G. Miscellaneous Implements (2669-2703) 338
H. Arms and Armour (2704-2910).
1. Etruscan armour and weapons (2704-2734) 341
2. Greek and Roman weapons (2735-2815).
(a) Swords and knives (2735-2766) ....... 343
{b) Spear-heads (2767-2796) ........ 345
(c) Arrow heads (2797-2815) 346
3. Greek and Roman armour (2816-2876).
(a) Helmets (2816-2844) 348
(i>) Cuirasses, greaves, etc. (2845-2876). . . . . . 350
4. Horses' trappings, etc. (2877-2910) 352
I. Tools (291 1-2978).
1. Celts and Axe-heads (291 1-2954) ....... 355
2. Knives (2955-2974) 357
J. Steelyards and Weights (2979-3030).
1. Steelyards (2979-2996) .359
2. Weights (2997-3030) 360
K. Stamps and Inscribed Objects (3031-3 194). ... 363
III. APPENDIX.
Recent Acquisitions (3 195-32 1 6) . . . . . . ' 371
lNDKX 379
LIST OF ILLUSTRATIONS,
PLATES.
I. 192. Female Figure : Archaic Greek.
197. Aphrodite (?) : Archaic Greek.
209. Apollo after Canachos.
II. 188. ElLEITHYlA (?) : Archaic Greek.
199. Aphrodite Ourania : Archaic Greek.
212. Heracles or Athlete: Archaic Greek.
213. Athlete : Archaic Greek.
214. Archaic Relief: Satyr with ram.
270. Apollo from Armento.
III. 194. Aphrodite (?) : Archaic Greek.
198. Aphrodite : Archaic Greek.
208. Running Girl : Archaic Greek.
222. Man riding on Camel : Archaic Greek.
224. Archaic male Figure from Thebes.
238. Aphrodite, forming stand of Mirror : Archaic Greek.
IV. 241-243. Aphrodite, forming stand of Mirror : Archaic Greek.
V. 271. Apollo from Thessaly.
272. APOLLO from Paramythia.
1084. Aphrodite fastening Sandal.
VI. 274. Poseidon or Zeus from Paramythia.
277. One of the Dioscuri from Paramythia.
279. Dione OR Aphrodite from Paramythia.
VII. 275. ZEUS from Paramythia.
278. Ganymede (?) from Paramythia.
280. Aphrodite from Paramythia.
VIII. 285. The Siris Bronzes.
286. Heroic Figure from Lake Bracciano.
IX. 288. Mirror-case and Cover : Greek designs.
X. 294. Mirror-case : Hermes seizing Nymph.
298. Mirror-case : Woman offering incense.
XI. 291. Mirror-case : Artemis in combat with Giant.
309. Fragment of Greek relief : Eros and Psyche.
311. Relief from vase : Dionysos and Ariadne.
859. Relief : Deity between two Gryphons.
1582. Relief : Romulus and Remus suckled by the wolf.
CATALOGUE OF BRONZES.
XII.
450.
508.
c 22.
534.
602.
680.
XIII.
449.
464.
555-
609.
610.
672.
XIV.
491.
612,
XV.
492,
XVI.
509.
514,
681.
XVII.
244-
543-
XVIII.
542.
XIX.
619.
631.
XX.
603.
666.
671.
XXI.
789-
809.
813.
818.
819.
XXII.
792.
808.
821.
XXIII.
798.
1071.
1248.
XXIV.
799-
825.
1077.
XXV.
882.
XXVI.
837.
838.
839.
849.
Artemis : Archaic Etruscan work.
Two Gymnasts : Archaic Etruscan.
Male FIGURE : Archaic Etruscan.
Dancing GIRL : Archaic Etruscan.
Demeter in rustic car : Etruscan.
Male Figure : Etruscan.
Aphrodite adjusting sandal : Archaic Etruscan.
Heracles : Archaic Etruscan.
Hermes Criophoros : Archaic Etruscan.
Reclining Figure : Etruscan.
Youth kneeling : Etruscan.
Heracles and the Nemean Lion : Etruscan.
Winged Victory : Archaic Etruscan.
613. Two Etruscan Female Figures.
607. Two Goddesses : Etruscan work.
Male Figure : Archaic Etruscan.
515. Two Athletes : Archaic Greek or Etruscan.
Youth with Sword : Etruscan.
Archaic Mirror : Eros flying.
ETRUSCAN Mirror : Winged Aphrodite and Erotes (?) ; Archaic work.
Etruscan MIRROR: Heracles carrying off Malache ; Archaic work.
ETRUSCAN MIRROR : Heracles and Erymanthian Boar.
Etruscan Mirror : Satyr and Maenad.
ARES : Greek or Etruscan work.
Female Figure from candelabrum : Etruscan work.
Heracles subduing Horses of Diomede : Etruscan.
-790. DlSPATER : Gaulish work.
SEILENOS : Gaulish work.
Two Months : Gaulish work.
Gaulish Prisoner.
Gaulish Woman.
Apollo : Gaulish work.
DlONYSOS : Gaulish work.
Barbarian Warrior : Gaulish work.
Ares : Gaulish work.
ARES : Graeco-Roman period.
Heracles : Graeco-Roman period.
Apollo : Gaulish work.
HERMES (Payne Knight) : Graeco-Roman period.
ARES : Graeco-Roman period.
Patera : Scylla destroying companions of Odysseus.
Marcus Aurelius.
Bust of Septimius Severus.
COMMODUS on horseback.
Philosopher : late Imperial times.
LIST OF ILLUSTRATIONS.
XI
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
1618. Equestrian Figure.
1722. BUST of Boy : Roman period.
786. Zeus : Gaulish work.
853. Two Wrestlers : Graeco-Egyptian.
1010. Ephesian Artemis : Graeco-Roinan period.
1303. Heracles : Graeco-Roman period.
143 1. Hygieia.
1440. Atlas.
851. Portrait of Man: Greek or Graeco-Roman.
994. Apollo.
1015. Helios.
105 1. Athene.
1389. Satyr.
1454. Ajax son of O'ileus.
189-191, 1042, 1046, 1049. Types of Athene.
1291. Heracles.
1473. Harpocrates.
1523. Silvanus.
638. Etruscan Cista : Sacrifice of Trojan captives by Achilies.
3210. Mirror-case : Horseman.
321 1. Mirror-Case : Female head.
ADDENDA ET CORRIGENDA.
P. 3, under No. 42, add : Tomb 38. Furtwaengler and Loeschcke, Myken. Vasen, pi. B,
fig. 27, p. 17.
P. 5, under No. 58,/fr pi. 150, fig. 2, read : pi. 146, fig. 6 b.
P. 20, under No. 213, for i\ in., read: 4I in.
P. 45, under No. 305, add : Arch. Zeit. 1876, p. 9.
P. 48, under No. 317, add : Gr. Dial.-Inschr. 4614.
P. 50, under No. 332, add : Athen. Mittheil. xix. (1894), p. 210 ; C. I. A. iv. 908 b.
P. 67, under No. 486, add : Micali, Mon. Ined. pi. 50, fig. 5.
P. 68, under No. 493, add : Bull, de Corr. Hell. xxii. (1898), pi. 3, p. 201.
P. 99, line 19, under No. 632, for " cords " read " chords.1'
P. 176, under No. 964, add : Brunn, Denk/naeler, 53, 54.
P. 248, under Nos. 1523, 1524, add in each case : A similar example in the Ashmolean Museum,
Oxford.
P. 322, under No. 2457, add : Archaeologia, xxxix. p. 509 ; cf. C. I. L. iii. Suppl. 12031 15.
INTRODUCTION.
I. HISTORICAL ACCOUNT OF THE COLLECTION.
The collection of classical bronzes in the British Museum has been formed from
a nucleus which is almost coeval with the foundation of the institution ; indeed
the history of several specimens can be traced back even beyond the year 1753,
when that event took place. This original nucleus was formed by bequests or
donations from Sir Hans Sloane * (1753), Mr. Hollis | (1757— 1765), the Earl of
Exeter (1760), and Mr. Pitt Lethieullier (1756). The present of the Earl of
Exeter consisted of the head of Sophocles (No. 847), the history of which can be
traced back even further than 1760 ; brought from Constantinople to England
by the second Earl of Arundel (1586-1646)! at the beginning of the seventeenth
century, it remained in the possession of that family till 1721. It figures in a
painting of the Earl and Countess by Van Dyck, now in Arundel Castle. § In
the above-mentioned year it was purchased by Dr. R. Mead, from whom it
passed to the ninth Earl of Exeter in 1755, who in his turn bequeathed it to the
Museum. The recently-acquired Apis-bull (No. 3208) was also once in the
possession of Dr. Mead.
In 1772 the first parliamentary grant was made for the augmentation of the
Museum collection, to the amount of ^8410, a part of which was devoted to the
acquisition of antiquities collected by Sir W. Hamilton,! when British Ambassador
at Naples from 1764 to 1800, partly by purchase, partly from excavations set
on foot by himself. His chief passion was for painted vases, but the collection
included also a considerable number of bronzes, mostly statuettes of deities, of
Etruscan and Graeco-Roman work, fibulae, and Roman stamps. The bronzes
numbered altogether 627, chiefly pieces of armour. Many of them are from the
neighbourhood of Naples and Mount Vesuvius.
The beginning of the nineteenth century saw a great advance in the
* From the Sloane Collection: Nos. 761, 778, 943, 1093, 1118, 1170, 1171, 1709, 1748, 1759,
1919, 1924, 2541.
t From Mr. Hollis: Nos. 917, 942, 1044, 1087, 1207, 1298, 1374, 1477, 1483, 1575, 1601, 1798,
1808. See, for these two collectors, Brit. Mus. Cat. of Sculpture, i. Introd. Mr. Lethieullier gave the
figure of Harpocrates, No. 1500.
% Edwards, Lives of the' Founders of the Brit. Mus., p. 174 ; Diet, of Nat. Biogr. xxviii. p. 73.
§ Described by Walpole, Anecdotes of Painting, i. p. 297.
II For an account of Sir W. Hamilton, sec Edwards, Lives of the Founders, p. 347 ff. ; Michaelis,
Ancient Marbles in Gt. Britain, p. 109.
XIV CATALOGUE OF BRONZES.
Museum collection in all branches of Greek and Roman antiquities, but chiefly
in sculpture, owing to the acquisition of the Elgin and Phigaleian marbles and
the great collection of Mr. Charles Towneley.* The latter was purchased in
1805 by Act of Parliament for £20,000. Mr. Towneley's collection also included
many fine and interesting bronzes. Of these the largest are the Heracles from
Byblos, No. 827, and the Apollo, No. 987, the latter having been purchased at
the Choiseul sale by Mr. Towneley ; the Heracles had been sent to England in
1779 by Dr. Swinney, Chaplain to the Factory at Constantinople. Among
other Towneley bronzes may be mentioned the Eileithyia and the Satyr with
ram (PL II.) ; the Etruscan cista with the sacrifice of Polyxena (743) ; and several
fine Etruscan mirrors, notably Nos. 244, 541, 544, and 723. These were purchased
in 1 8 14 by a second Act.
For the next ten years the collection of bronzes received few, if any,
additions, but in 1824 it was greatly enriched, both in quality and quantity, by
the bequest of Mr. Richard Payne Knight,| who left all his antiquities to the
Museum, including marble busts, gems, coins, and vases, but above all, bronzes.
He was regarded as the greatest connoisseur of his time, and a curious charac-
teristic was that he denied the possibility of beauty and magnitude existing
together, so that he limited his acquisitive energies almost entirely to the smaller
productions of art. The chief attraction among his bronzes was formed by the
Paramythia group, found near Dodona in Epirus in 1792 and 1796, nearly the
whole of which came into his hands. Those now in the Museum (Nos. 272-281
and 1445) were collected by Payne Knight from various sources. Nineteen in
all were found at Paramythia, and some were purchased at Janina by a Greek
merchant, who rescued them from being melted down by a coppersmith. From
him they came partly into the possession of the Czernicheff family, partly into
the hands of M. de Wierislowsky ; the latter share was purchased by Payne
Knight. Of the others, two were given to Payne Knight by the Earl of
Aberdeen, and one was purchased by him from a Greek dragoman ; two more
came into the possession of Mr. Hawkins. The Czernicheff bronzes consisted
of a Zeus, a Satyr, an Eros, a triple Hecate, and a Hera. Those purchased from
M. de Wierislowsky were Nos. 272-274 and 276-280; the Zeus, No. 275, he
acquired from the Greek dragoman, and Nos. 28 1^, from the Earl of Aberdeen.
Into Mr. Hawkins' possession came a Hermes (Spec. Ant. Sculpt, ii. 21) and the
Aphrodite and Anchises mirror-case, of which No. 287 is a cast. The nineteenth
bronze was a Heracles, which found its way to Russia.!
Among the other Payne Knight bronzes the two most important are the
Apollo after Canachos (PI. I.) and the Hermes (PI. xxiv.) ; the latter was found
at Pierre-en-Luiset, near Lyons, on February 19th, 1732. " Two labourers named
* For a detailed life of Mr. Towneley and account of his collection, see Ellis, Towneley Gallery,
2 vols., 1846; also Michaelis, Ancient Marbles in Gt. Britain, p. 127, and Edwards, Lives of the Founders
of the Brit. A fits. p. 369 ff.
f Michaelis, .Indent Marbles in Gt. Britain, p. 119 ff. ; Edwards, Lives of the Founders, p. 401 If.
% Spec. Ant. Sculpt, ii. p. lxv, ; Edwards, Lives oj the Founders, p. 407 ; see 1'ls. v \ii.
INTRODUCTION. XV
Claude Bouillet and Gabriel Leandrat, being driven from their work by a heavy-
shower of rain, observed a small cave near a cascade, the mouth of which was
stopped up by a large stone. This they immediately removed with their pick-
axes ; and within found this figure, which they forthwith carried to a Mons.
Janin, a bourgeois of Huis, in whose possession it remained to the year 1747 ;
when it came to the knowledge of the Abbe Chalat, almoner of the Chapter of
Belleville, who purchased it of Janin, and had the circumstances of its discovery
taken in a proch-verbal before a notary, which he sent to Comte Caylus ; who
has published it in the seventh volume of his Antiquities, p. 268, and given engra-
vings of the pedestal, the purse, and the gold torques, Suppl. pi. lxxvi. ... It
continued in the possession of the Abbe Chalat at Belleville, in the Beaujolois,
till the year 1788, when he died and left it to his friend the Abbe Tessant at
Paris, who, upon the dangers which threatened all the French clergy in the year
1792, sold it to me;' *
Other of these bronzes worthy of mention are the helmet (251) dedicated
by the Argives from the spoils of the Corinthians ; the tablet (264) with a treaty
between the Eleans and Heraeans ; a head of Hermes of Greek work (283) ; a
bust of Triton (975) ; a statue of the youthful Dionysos (1326) ; and various
Etruscan mirrors and statuettes.
In the year 1823 an important acquisition was made by the liberality of
His Majesty King George IV., who presented the bronze helmet from Olympia
(250) with an inscription recording its dedication by Hiero and the Syracusans
after the victory over the Tyrrhenians in B.C. 474. It had been found at
Olympia in 1817, and presented to the King by Sir Patrick Ross.
During the next few years the most important accession was that of the
Siris bronzes (PI. VIII.), found in 1820 and purchased from the Chevalier Brond-
sted in 1833 by public subscription. This was followed by a series of Etruscan
acquisitions, mostly candelabra, vases, and statuettes from the Canino
excavations at Vulci and from the dealer Campanari (1837-1847;.! Through
the agency of the latter was acquired an interesting group of objects from the
Lake of Falterona (Nos. 450, 459, 463, 614-616, 679). About 600 statuettes and
votive objects in bronze were found in and near this lake, and it is supposed
that they had fallen in a landslip.^ The lake is high up on the mountain side
and it has been suggested that it possessed certain medicinal qualities which
would account for the presence of a shrine containing these votive objects.§
In 1850 the Museum acquired the contents of the Polledrara tomb, or
Grotta d' Iside, near Vulci. These objects are very important for the history
of early Etruscan art, as they include several Egyptian vases and scarabs
in porcelain, which give the tomb an approximate date of about 600 B.C.
* Payne Knight, MS. Catalogue of Bronzes, p. i8r.
t See Nos. 588, 591, 594, 597, 609, 659, 668, 782 ; 392, 587, 590, 599, 619, 747, 755, 781.
X See Micali, Mon. Ined. p. 86 ft"., and Dennis, Etruria", ii. p. 107 IT.
§ Braun in Bull. Jell' Inst. 1842, p. 179.
XVI CATALOGUE OF BRONZES.
The bronzes include a female bust, two braziers, and sundry vases (434-
439)-*
In 185 1 a considerable addition was made to the collection in a branch
previously little represented, that of Gaulish bronzes, by the acquisition of the
Comarmond collection of statuettes and smaller objects found chiefly in the
neighbourhood of Lyons. In 1856 Sir William Temple bequeathed to the
Museum his fine collection of vases, bronzes, terra-cottas, and other antiquities,
which included several fine bronze statuettes and a good collection of arms and
armour from Southern Italy. Between the years 1856 and 1867 the additions
were mostly small, consisting of isolated specimens from the Hertz (1859),
Strangford (1864), Pourtales (1865), and other collections, together with a
number of early Greek bronzes excavated by MM. Salzmann and Biliotti at
Cameiros, Rhodes, in 1863-4 (Nos. 132-175).
In the course of the next two years a great increase resulted from the
acquisition of the collections of the Due de Blacas (1867) by purchase, and of
Mr. James Woodhouse, of Corfu f (1868), by bequest. One of the best specimens
in the latter collection is the engraved diskos (248) from Sicily. Two well-known
bronze tablets (262 and 263) with archaic inscriptions should have passed with
this collection to the Museum, but fell into private hands, and were only finally
acquired in 1896. The collection of M. Fejervary-Pulszky also came into the
market in 1868, and from it the Museum obtained the so-called Meleager (1453)
and other interesting specimens. In 1870 and 1872 a valuable donation was
received from Mr. Ruskin in the shape of a series of bronze weapons (1-27)
from M. Biliotti's excavations at Ialysos, in Rhodes, all of the Mycenaean period.
But some of the greatest treasures of the present collection have been
obtained from the famous dealer, Signor Castellani, whose first contribution was
made in 1865, and included the figure of a philosopher from Brindisi (848), the
Etruscan Demeter (PI. XII.), and several fine statuettes and Etruscan mirrors, also
a collection of Greek armour from Southern Italy. These were followed by the
Hypnos head (267) and sundry bronze vases in 1868, and a series of fibulae, rings,
keys, and small bronze objects with the collection of gems and gold ornaments
acquired in 1872. In 1873 the Museum through the same agency became
possessed of the splendid bronze head from Armenia (266), the equally fine
heroic figure from the Lake of Bracciano (PI. VIII.), the archaic statuette with
diamond eyes from Verona (PI. I.), and many fine statuettes and mirrors. Finally,
at the last Castellani sale in 1884, several very fine Etruscan cistae were acquired.
During the last twenty-five years the collection of bronzes has increased but
slowly, the additions made being more remarkable for quality than quantity.
In 1878 a large collection of small objects was presented by General Meyrick,
but nearly all the other acquisitions have been isolated purchases or donations,
such as the Marsyas (269) in 1876, the leg from a colossal statue (265) purchased
* Bull, deir Inst. 1839, p. 71 ; Micali, A/on. Ined. pis. 3-8; Abckcn, Mittelital. p. 268 IT. ; Dennis,
Elruria'-, i. p. 457 ff. ; Journ. Hell. Stud. xiv. p. 20G ff.
f Edwards, Lives of Founders, p. 702.
INTRODUCTION. XV11
from M. Piot in 1886, and the series of bronze mirror-cases (288-302). We
must not, however, omit to mention the considerable number of early bronzes
obtained during the Museum excavations in Cyprus, chiefly at Enkomi (Salamis)
in 1896 ; the special importance of these bronzes is that they nearly all belong
to the Mycenaean period.
II. HISTORY OF BRONZE-WORKING IN ANTIQUITY.
The earliest bronzes in the collection belong to the Mycenaean period or
later Bronze Age of Southern Europe, and have been obtained from Rhodes,
Cyprus, and other localities ; but of the exact provenance of the greater
number we have no record.
On the subject of the Bronze Age in Southern Europe a
The Bronze Age, very extensive literature has arisen, but it may be regarded
its character as a matter of general agreement that throughout Europe
and duration. there was a period when on the one hand stone fell into
disuse for cutting-implements, and on the other iron was
practically unknown or at any rate little used for tools and weapons. It is
however impossible to fix hard-and-fast limits for this stage of civilisation,
as not only does its approximate duration vary in different countries, but it
is overlapped by the Stone Age on the one side and the Iron Age on the other.
And it is very probable that the Bronze and Iron Ages make their respective
appearances earlier in some countries, and at a comparatively late date in
others ; thus for instance Maspero traces the use of iron in Egypt back as far as
the Sixth Dynasty (33CO-3100 B.C.),* while in Greece it was quite unknown until
Homeric and post-Mycenaean times, about 800 B.C.
In the Old Testament, especially in the Pentateuch,f we find occasional
mention of the use of iron, as opposed to the frequent mention of brass
(i.e. bronze) ; but some of these passages must not be pressed, such as Gen. iv. 22,
which speaks of Tubal-Cain as " the forger of every cutting instrument of brass
and iron" (R.V.). Here the A.V. reads "an instructor of every artificer in brass
and iron," a phrase which recalls Pliny's frequent allusions to early artists as
inventors of particular processes, implying no more than that they were early
workers in metal, like Daedalos.
As far as concerns actual remains of the Bronze Age discovered on Greek
soil, the contents of tombs of the Mycenaean period may be considered to answer
with tolerable accuracy to this period. Little was found at Mycenae itself, but
a considerable number of bronze weapons have been found in Rhodes (see
* Maspero, Guide au Musee de Bouloq, p. 296 ; see also Reinach in Revue Arch'ol. viii. (1886), p. 1 19,
and Evans, Ancient Bronze Implements, p. 6. It seems most probable that in Egypt both bronze and iron
had always been known and worked from the earliest times, and that there was no succession of the two
Ages as in Europe. Cf. Piehl in Ymer for 1888, p. 99.
t E.g. Numb. xxxi. 22, xxxv. 16 ; Deut. iii. II, iv. 20, xxvii. 5 ; Job xxviii. 2.
b
XV111 CATALOGUE OF BRONZES.
Nos. I --42), and more recently in Cyprus much bronze of this period has come
to light. In the Museum excavations at Enkomi in 1896 the hoard of a bronze-
founder (Nos. 94-114) was discovered a tew feet below the surface. The
contents are described seriatim in the Catalogue, and include almost every
variety of implement, besides masses of bronze in an unworked state.
We may classify the evidence for the existence and duration of a Bronze
Age under three heads: (1) the direct testimony of literature; (2) indirect
deductions drawn from literature ; (3) the evidence of finds and of technical
processes.
As regards (1) we have sufficiently definite statements in Hesiod, Op. et Di.
1 50 ff., and Lucretius, v. 1286 ff. The former in speaking of a Bronze Age says :
T0Z9 8' 7]v yc'CkKea fiev rev^ea, ^dX/ceoc Se tc oIkoi,
■%a\/ca> 8' ipydfyvTO ' /xe\as S' ov/c ecr/ce al$r)po<;.
The passage in Lucretius is probably a reminiscence of that just quoted, and
runs as follows :
Posterius ferri vis est aerisque reperta,
et prior aeris erat quam ferri cognitus usus,
quo facilis magis est natura et copia maior.
Acre solum terrae tractabant, aereque belli
miscebant fluctus et vulnera vasta serebant
et pecus atque agros adimebant. ....
Inde minutatim processit ferreus ensis
versaque in opprobrium species est falcis ahenae,
et ferro coepere solum proscindere terrae
exaequataque sunt creperi certamina belli.
(2) Secondly, there are the indirect deductions to be drawn from literary
evidence, from the incidental mention of bronze or iron in the earliest writings,
such as Homer and the Pentateuch, or from later historians such as Herodotus
and Thucydides. It is possible, however, that evidence from non-classical
sources such as the early Semitic writings does not affect the question of
European or at any rate of Greek civilisation. We have seen above that there
is evidence for the use of iron in Egypt as early as the Sixth Dynasty, and
Prof. Petrie has found remains of bronze in the Fourth Dynasty (3800-3600 B.C.).*
No doubt the knowledge of both was acquired by the Israelites during their
sojourn there ; the passage in Genesis (iv. 22) is, as we have seen, susceptible
of another interpretation. The evidence from Homer is discussed later on.
Herodotus (i. 68) speaks of the surprise evinced by a man at seeing a smith (for
whom he uses the word ^aX/cew) working in iron.
Another form of evidence to be drawn indirectly from literature is the
* Petrie, Medun, p. 36; see also Evans, Ancient Bronze Implements, p. 8, and Brit. Assoc. Report,
Liverpool meeting, 1896, p. 930.
INTRODUCTION. XIX
deliberate avoidance of iron in connection with religious observances, as in the
lines of Hesiod (Op. et Di. 741) :
fjajS' citto irevTO^OLO dewv ev Sairl daXeirj
auov airb -^\o3pov rdfiveiv aWcovi <ri&7]pfo.
Frazer in the Goldm Bough (i. p. 172) considers that the aversion to the use
of iron in ritual dates from the time when it was a novelty, and consequently
viewed with suspicion. This trait may be observed not only in the Mosaic
Law, but in both Greek and Roman cults.*
(3) Thirdly, we have the evidence from actual finds, and from our
knowledge of the technical processes and scientific attainments of the earlier
ages. We have pointed out that, as far as classical soil is concerned, iron
is nowhere found before the end of the Mycenaean period, i.e. about 800 B.C.
We have also noted that the tombs of the Mycenaean period in Cyprus have
yielded large numbers and a great variety of bronze implements. Again, in
Italy, the lake-dwellings of the plain of Lombardy, which are coeval with the
oldest settlement at Hissarlik, yield evidence of a primitive method of bronze-
casting, but no traces of iron. The earliest remains of iron are found in the
cemeteries of Villanova and the oldest parts of the necropolis of Cervetri (ninth
and eighth centuries B.C.), but only in inconsiderable fragments ; the bronze
remains from this source are of an advanced and superior character.
So far, all the evidence points in the same direction. The weightiest
objections against the existence of a Bronze Age before that of iron are of a
purely scientific nature. It has been urged that it is incorrect to regard the
working of iron as developed from that of bronze, as the more complicated
process from the simpler. The melting-point to which it is required to raise
iron to separate it from the ore is not so high as that required for copper, and it
is assumed that so high a temperature as 11000 C. was not easily reached in
primitive times, while the 7000 C. required for iron was more readily obtained. f
Another difficulty is that in order to obtain bronze a supply of tin is essential,
and connotes an extensive commercial intercourse, which cannot be predicated
before the time of the Phoenicians. Thirdly, it is maintained that some of the
ornamentation on primitive bronzes can only have been produced by a steel (or
iron) tool.
A way out of the difficulty is suggested by Beck.} He supposes that when
the peoples of Europe first came into contact with the civilisations of Western
Asia, in a very remote pre-historic period, they had practically no acquaintance
with the methods of obtaining and working metal, except in so far that they
* Classical Review, vii. (1893), p. 391 ; Movers, Fhbnizier, ii. pt. 3, p. 68 ; Hock, Kreta, i. p. 264 ;
Preller-Jordan, Rom. Mythol.* i. pp. 112, 130, ii. p. 135 ; and Dent, xxvii. 5.
t We may recall the elementary methods adopted by Benvenuto Cellini in casting his Perseus, in
order to obtain sufficient heat for the metal to melt (see Life, ed. Symonds, 1896, p. 361 ff. ).
X Geschichte des Eisens, i. p. 44 ft".
b 2
XX CATALOGUE OF BRONZES.
could produce rude objects from iron ore. In the course of commerce they
would have met with bronze weapons and tools of advanced technique and
ornamental appearance, which would attract them to such an extent as to cause
them to give up the working of the rough iron ore for that of the new metal.
This would be supplied to them in a ready-mixed state, from which they would
have no difficulty in working it up into the required forms. Gradually their
newly-acquired knowledge of technical processes in bronze would be extended
to that of iron, and hence the apparent transition from one metal to the other.
This hypothesis does not, indeed, dispose of all the difficulties, but may be
taken for what it is worth, in connection with the other kinds of evidence which
have already been discussed. Granting, however, that the Bronze Age was
succeeded by an Iron Age in Europe, it remains to decide the complicated
question as to the period at which the working of iron was introduced.
In the tombs of the Mycenaean period on Greek soil no
Earliest iron nas ever been found except a few finger-rings in the
introduction of lower graves of Mycenae and two lumps of unworked iron
Iron. from the burnt city of Troy. On the other hand, nine iron
spear-heads and knives were obtained at Assarlik in Caria
(cf. p. 8), while in Cyprus a certain amount of iron has been found in tombs
containing two scarabs of Amenophis and Taia, as also pottery of Mycenaean
character ; this however may belong to the time when iron was gradually
coming into use, notwithstanding the presence of these scarabs. The evidence is,
in fact, the same in all the Mediterranean countries ; where iron has been found,
it is in insignificant quantities. The only argument that can be urged on
the other side is that, owing to the more perishable nature of iron, it has
disappeared more completely than bronze. In answer to this, it is only
necessary to point out that in the later tombs it has been found sufficiently often
and in sufficient quantities to refute such a hypothesis. The date of the
introduction of iron-working seems to vary in different parts, but nowhere can
evidence be obtained for its appearance earlier than iooo B.C. Even then it was
only used for swords and other weapons, owing to the strong religious prejudice
to which allusion has been made.
The Homeric poems are, of course, an important source
Iron in Homer. of testimony. The passages where iron is mentioned seem to
imply that iron stood to bronze much in the same relation
as gold stands to silver or silver to plated metal nowadays. It was in a sense
a precious metal. This we learn from such passages as 11. xxiii. 826 ff. :
avrap TlrjXetSr]*; dfj/cev aoXov avro-^ocovov,
ov irpiv fxev plirraaKe /neyct cr6evo<i 'HeT/<wi>o<?,
aW rjToi rov €7re<pve TroSdpfcr/s &to$ 'A^tWeu?,
rov o ay€T ev vijeacrt avv dXkoiai Kredreaaiv, k.t.X.
Other passages which point to the value set upon iron are //. vi. 48, vii.
473, xxiii. 261, and Od. i. 184. The word actually occurs 48 times in Homer,
INTRODUCTION. XXI
23 in the Iliad and 25 in the Odyssey. Prof. Jevons* has summed up the
question by laying down that iron is not more common in the later Homeric
poems than in the earlier, and that all these poems must be placed at the
beginning of the Iron Age ; further, that if Homer lived in the Mycenaean
period, iron must have been known in that period ; if it was not, then even the
earliest poems must be post-Mycenaean. If his conclusions are correct, we see
that they point roughly to this result— that the Mycenaean period is coincident
with the Bronze Age, and the time at which the Homeric poems were compiled
with the beginning of the Iron Age, at all events in Greece. But it must be borne
in mind that a strong line of demarcation must not be drawn between the
Mycenaean and the Homeric civilisations ; if they are not actually contempo-
raneous, as maintained by many authorities, they cannot lie far apart, represent-
ing as they do respectively the end of the Bronze Age and the beginning of
the Iron Age.
Another question which arises in this connection is
The "Copper" concerned with the use of pure copper as contrasted with
Age. bronze. It has been maintained by some scholars! that there
was a period in Europe during which copper only was known,
either from an ignorance of the properties of tin as an alloy, or from the
difficulties of procuring the latter metal. Such a question can only now be
solved by an exhaustive analysis and comparison of primitive weapons and
implements, as even where they are known to be of more or less pure copper, the
appearance is much the same as when the metal is mixed with tin. There is
every reason to suppose that many, if not all, of the early bronze weapons from
Cyprus are composed of pure copper ; and it is, of course, a well-known fact that
the working of copper was known from the earliest times in Cyprus, with its
rich mines ; the question which remains doubtful is that of the supply of tin
available, not only for Cyprus, but for other countries.J On the whole, it seems
to be too sweeping an assertion to lay down that there was a Copper Age in the
sense in which we speak of a Stone or Bronze Age. The most natural explanation
is this : that in Cyprus, as elsewhere, when copper first became known, it was
worked by itself. Finding that this was unsatisfactory, and that sufficient
hardness could not be obtained for their weapons, men sought for an alloy that
they could use, and gradually the properties of tin became known, and that
metal itself became a popular article of commerce. There is much reason for
supposing that this so-called " Copper Age " was confined to Eastern Europe
and Asia, a part of the world where tin was not easily obtained, until the
Phoenicians brought it in large quantities from the West.
* Joum. Hell. Stud. xiii. p. 31.
t See especially Much, Die Kupferzeit"1, (Vienna, 1885) ; also Myres, Cyprus A/us. Cat. p. 14 ff., and
in Schncc Progress, July, 1896, pp. 347, 357, and Anthropol. Journal, xxvii. p. 171 ff.
% Dr. J. H. Gladstone (Proc. Soc. Bibl. Arch. xii. p. 230) gives the results of analysis of various early
Egyptian and Assyrian bronzes ; the proportion of copper varies from 89 to 93 per cent., and some are of
pure copper ; the tin never exceeds 1 1 per cent.
XX11 CATALOGUE OF BRONZES.
The word "Bronze" has been generally adopted by
Definition of archaeologists to designate a mixed metal composed chiefly
Bronze and of copper, with an alloy of tin, which latter is found by the
meaning of analysis of many specimens to range from twenty to nine per
XaA./co<?. cent. The combining, tempering, and casting of this mixed
metal were, as we have seen, known to Oriental nations at a
very remote period, and long antecedent to the dawn of Hellenic civilisation ;
but it was reserved for the Greeks and Etruscans to bring this art to perfection,
and to develop the full capabilities of the metal.
The Greek word for bronze or copper is ^aX/cos, used indiscriminately for
either. This word occurs very frequently in Homer, and the general opinion is
that he uses it in the sense of bronze ; for instance, a sword made of ^aX/cos could
hardly be of copper, or it would not break off sharp (cf. //. iii. 363), and in any case
it would not be a very practicable weapon. Moreover, as we have seen already,
the use of weapons of pure copper belongs to the very earliest period of the
Bronze Age, and it is certain that tin was known in Homeric times. In later
times, the word -^aXico^ acquires the more general sense of " metal," just as the
word %a\K€v$ comes to mean " a smith."
As to the sources from which copper was obtained by
Sources whence *ne ancients, Pliny (N.N. xxxiv. 2-4) gives us much informa-
Copper and Tin tion, as also about the different varieties of bronze which
were obtained. obtained in different parts of Greece. The ancient world
was remarkably rich in copper-producing localities ; we also
learn from other authorities besides Pliny of the various parts of the world
whence copper was procured in varying degrees ; other places again are known
to us from actual or apparent remains of copper-mines, as, for instance, in North
Wales, Gaul, and Germany.
The list of localities given by Bliimner* is a long one, and includes most of
the countries that were under Greek or Roman dominion ; they are nearly all in
or near the Mediterranean. Pliny mentions with special commendation the ore
of Cyprus and Campania {H.N. xxxiv. 2-3) : " Fit et e lapide aeroso quern vocant
cadmean, celebri trans maria et quondam in Campania, nunc in Bergomatium
agro extrema parte Italiae ; ferunt nuper etiam in Germania provincia repertum.
Fit et ex alio lapide quern chalcitim appellant in Cypro, ubi prima aeris inventio,
mox vilitas praecipua reperto in aliis terris praestantiore maxumeque aurichalco,
quod praecipuam bonitatem admirationemque diu obtinuit . . . Proxumum
bonitate fuit Sallustianum in Centronum Alpino tractu . . . successitque ei
Livianum in Gallia . . . Summa gloriae nunc in Marianum conversa, quod et
Cordubense dicitur."
The antiquity of the copper mines of Cyprus is well attested, not least by
the fact that the name of the metal is derived from that island (^aX/cos Kxnrpuv;,
Lat. aes Cyprium). Tradition attributed the discovery of the working of copper
Tcchnologie u. Terminologies iv. ]>. 57 If.
INTRODUCTION. XX 11 1
to Kinyras. Homer alludes to the mines of Tamassos in a well-known passage
(Od. i. 182 ff.) :
vvv &' cohe %vv vrji /caT)']\v6ov ?}S' erdpoKjiv
irXewv eir\ olvoira ttovtov eV dWoOpoou-; avOptoTOvs,
e<; Tefiecnyv fierd -yaX/cov, dyto 8' aWwva athrjpov.
We may also mention an epigram on a base of a statue found at Argos (Kaibel,
Epigr. Graec. 846) :
elp.1 6e Ki/coKpewv, dpe-^rev Se fie yd irepU\varo<;
Kv7rpl<i deiordrajv eV irpoyovwv ficuTikr}.
a-rdaav 6' ""Apyelol fie ydpw yak/colo rtovres,
'Hpai bi> et? epoTtv nri/nro\v de\9\a veoL$.
It records how Nicocreon,* a king of Cyprus, had had a statue erected by the
Argives in return for the bronze vessels which he had sent them as prizes in
the games. The richest mines in Cyprus were those of Temesa (Tamassos),
Amathus, Soli, Curium, and on Cape Crommyon (Kormakiti) ; remains of ancient
mines also exist near Poli (Marion-Arsinoe).
In Greece itself the chief centre for obtaining copper was Euboea, and above
all the neighbourhood of Chalcis, where there was a tradition that the ore was
first found (Pliny, H. N. iv. 64, aere ibi primum reperto).\ In the time of Strabo
however (x. 447) the supply had failed, or else the mines had been spoiled by
water ; but while they lasted they must have been exceedingly productive. All
traces of them have now disappeared. Other places in Euboea were Aedipsos
and Mount Ocha. On the mainland we have records of mines in Attica, Argolis,
and Sikyon. In spite of the celebrity of Corinthian bronze in the ancient world,
we have the express statement of Pausanias that there was none to be found
there (ii. 3, 3 : /ecu rbv Koptvdcoi> ^aX/cov hidirvpov /ecu Bepfiov ovra viro tov v8cito<?
tovtov fSaTTTeaOai Xe'yovaiv, eirel %a\tc6<i ye ovk ecrrt ls.opiv6toL<i), although he does
not deny that it was worked at Corinth.J
In Central Europe, copper was found in the south of Italy (Temese in
Bruttium) ; at Volaterrae in Etruria, where the mines were of considerable
importance ; in the island of Elba ; and in Spain, Gaul, Germany, and Great
Britain. § The mines of Spain were the richest and most important ; they have
remained almost inexhaustible from Phoenician times to the present day. They
exist at Cotina in the Sierra Morena, and at Rio Tinto in Huelva, Western
Andalusia ; at Rio Tinto the ancient shafts are still worked.
* See also Athenaeus, viii. 337 E.
t But compare the passage quoted above (xxxiv. 2, ubi prima aeris inventio). Wherever Pliny use
the word primus his statements must be received with caution.
% See Fiedler, Reise, i. p. 242, and Frazer, Pausanias, iii. pp. 24-5. The words fid-rneadai virb may
be rendered, "gets its colour from," probably from some ochre-like deposit in the water in which it was
tempered. See also M idler, Handlmch, § 306.
§ See C.I.L. v ii. p. 220, and Yates in Proc. Somersetsk. Arch, and Nat. Hist. Sec. viii. (1858), p. 1 tt.
XXIV CATALOGUE OF BRONZES.
In Africa copper mines existed all along the north coast, and at Meroe in
Ethiopia ; those of Mount Sinai supplied Egypt with ore for many centuries.
Copper was also found in Palestine, Syria, Chaldaea, and near Chalcedon in
Asia Minor. None of these mines attained to great celebrity except those of
Cyprus, Chalcis, and Spain. In early Greek times the copper was largely
brought by the Phoenicians, from Cyprus and elsewhere ; the Romans would
have obtained it from all parts of the world.
The sources from which the Greeks and Romans derived
Tin : whence their tin are not so easily ascertained. We know that tin was
obtained. used in primitive times in Egypt, or at any rate from the
eighteenth dynasty, and also in Chaldaea. A fragment of a
bronze sword found by Schliemann at Mycenae was analysed, with the result that
it was found to contain 86*36 parts of copper to 13*06 of tin ; and a fragment of a
vase-handle contained 89/69 of copper to io'oS of tin.* On the other hand, bronze
axes from Hissarlik (first city) contained the merest traces of tin, and clearly
belong to a "copper" age.f It is hardly probable that tin was obtained from
Britain during the Mycenaean period, and it was certainly not found locally.
But it is possible that it came from Paropamisus (Hindu Kush) on the borders
of Bactriana (Strabo, xv. 724 ; Bliimner, Techuologie, iv. p. 84). In the period
represented by the poems of Homer and Hesiod, the tin with which the poets
show themselves familiar was almost certainly brought by the Phoenicians from
Britain, Spain, and Gaul, as in later times. Homer mentions tin frequently, but
only in the Iliad ; it was apparently used extensively for plating armour and for
greaves. Hesiod {Theog. 862) has an interesting reference to it:
ir)]fC6T0, KCMTGLTepOS (M<?
T^XVV ^7r' Gl&WV V7T0 T €VTpl]TOV \OUVOLO
6aX(f)6ei<i.
Herodotus (iii. 115) speaks of tin as coming e| co-^cirr)? tj}s Ei)/xo7r?7?, and
Diodorus Siculus (v. 22) mentions the Land's End in this connection. Pliny
(H. N. xxxiv. 156) speaks of it as plumbum candidum: " Pretiosissimum hoc,
Graecis appellatum cassiterum, fabuloseque narratum in insulas Atlantici maris
peti vitilibusque navigiis et circumsutis corio {i.e. coracles) advehi. Nunc certum
est in Lusitania gigni et in Gallaecia summa tellure harenosa et coloris nigri ;
pondere tantum ea deprehenditur."
The classical word for copper-mining is ^aXKcopv^eia
Working- of (Strabo xvii. 821 and 830); ^aXKovpyela also occurs, but
copper a,nd pre- appears to have a more extended meaning, and to include
1 n ° smelting and the other processes of preparing the copper ore.
Teeh . . ' The ordinary name for the ore is ^aX/ciTis, but Pollux (vii. 98)
cesses rejects this, and prefers yrj v-rro^aXKo^. The ancients also
regarded cadmium as a copper-producing ore (see Pliny,
Schliemann, Tiryns, p. 171. t Id. Ilios, p. 251.
INTRODUCTION. XXV
//. N. xxxiv. 2 and lOO IT.). Pliny tells us (H. N. xxxiv. 2, cf. xxxiii. 95)
that the mining process is like that of silver {jionnisi in puteis reperititr
nullaque spe sui nascitur) ; but we have no descriptions of copper-mining
in ancient writers. There are, however, some representations of mining in
art that may possibly illustrate this, viz., among the Corinthian piuakes from
Penteskouphia near Corinth. Of those in the Berlin collection, four* represent
mining-scenes : they depict a man in a sort of cave plying a pickaxe against
its sides. A similar example from another pinax is given in Gazette Arcfu'ol.
1880, p. 105. There is no evidence that the mines are copper-mines, but the
fact that other pinakes\ have representations of smelting-furnaces seems to point
to the working of some metal. On the other hand it must be remembered that
Pausanias (v. S7tpr.) denies the existence of copper ore at Corinth, and this fact
weighs against the probability of a reference to a local industry such as we find
in the representations of pottery-making (Nos. 640-645, 813-815, 868-870, 884,
893 ; Gazette Arche'ol. 1880, pp. 105, 106). Most probably all these scenes
relate to the ceramic industry, and the men in the caves are digging out clay,
while the furnaces are potters' ovens.
The smelting processes again resemble those employed ia working silver ;
they include "roasting," stamping, grinding, and washing. Among the various
methods of smelting, the most usual process is to break up the copper ore into
small fragments and mix it with more than an equal proportion of charcoal ; it is
then put into a kiln with a wood and charcoal fire. The metal is thus " reduced,"
and runs out in a fluid form into sand moulds and is cast into ingots. Pliny
affords us little connected information concerning these processes, while much
that he says incidentally refers rather to the treatment of alloys than of pure
copper. Dioscorides (v. 85, in Kuehn, Med. Graec. Opera, xxv. p. 743) describes
the smelting-ovens that were used in Cyprus : iv oXkw Stcrreyoi KaraaKev d^erat
KafAivos Kal Kara ravTr/v irpos to i"irepu>ov €KTOfir) o~v/np,eTp6<i re Kal €K rwv avcodev
fiepoiv dvewy/JLevij. 6 8e rolyos rov olfcr/p,a.TO<i, w TrXijcnd^ei 7) fcdfxivos, rnparcn, Xeirrd)
rpyifxarL dyjpis avTrj<i t% y^covr]^ els irapahoyriv (pvarjTripos ' €%ei Be Kal Qvpav avp.p,erpov
Trpos eiaoBov Kal e^oSov Karea Kevaa fxevrjv inro T6i) reyvirov ' (jwriirraL 8e tovtw ra>
olvrj/jLaTi k'repos oIkos, qj at (fcvaai, Kal 0 (f)varjT7]p ipya^erat ' \olttov avdpaKes ivrldevrai
rfj KafiLvcp Kal irvpovvrai. eTreira 7rap€aro}<; 6 reyvir^ iixTrdcrcrei XeXeTrTOKOTrrj/Aeviiv
tt)v Kahpuelav €K twv virep K€(pa\i)v Trjs ^covtjs tottgov ' o inro ^elpd re to avro 7roia,
dfia Kal dvOpaKiav irpoaepbjBdWei.
Pliny distinguishes two varieties of Cypriote copper {H.N. xxxiv. 94 ff.) :
" Nunc praevertemur ad differentias aeris et mixturas. In Cyprio coronarium
ct regulare est, utrumque ductile ; coronarium tenuatur in lamnas taurorumque
felle tinctum speciem auri in coronis histrionum praebet, idemque in uncias
additis auri scripulis senis praetenui pyropi brattea ignescit. Regulare et in
aliis fit metallis itemque caldarium. Differentia, quod caldarium funditur
tantum, malleis fragile, quibus regulare obsequitur ab aliis ductile appellatum,
* Furtwaengler, Vasensammlung, Nos. 638, 639, 871, 872; see p. 70 note.
t Nos. Soi-812, 826-S30, 865-S67.
XXVI CATALOGUE OF BRONZES.
quale omne Cyprium est. Sed et in ceteris metallis cura distat a caldario ; omne
enim diligentius purgatis igni vitiis excoctisque regulare est."
Among other varieties, Pliny speaks of Campanian bronze, used especially
for vessels and implements (H.N. xxxiv. 95) : " In reliquis generibus palma Cam-
pano perhibetur utensilibus vasis probatissimo. Pluribus fit hoc modis. Namque
Capuae liquatur non carbonis ignibus sed ligni purgaturque roboreo cribro
perfusum aqua frigida, ac saepius simili modo coquitur, novissime additis plumbi
argentarii Hispaniensis denis libris in centenas aeris ; ita lentescit coloremque
iucundum trahit, qualem in aliis generibus aeris adfectant oleo ac sole. Fit
Campano simile in multis partibus Italiae provinciisque, sed octonas plumbi
libras addunt et carbone recoquunt propter inopiam ligni."
It is to be noticed that Pliny here speaks of lead being employed as an
alloy as well as tin (plumbum argentarium). In this connection it may be re-
marked that lumps of smelted copper with stamped Roman inscriptions have
been found in England, which contain a certain proportion of lead. Pliny gives
further reasons for the advantages of this process (ibid. 96) : " Quantum ea res
differentiae adferat in Gallia maxume sentitur ubi inter lapides candefactos
funditur, exurente enim coctura nigrum atque fragile conficitur. Praeterea
semel recoquunt, quod saepius fecisse bonitati plurimum confert." Modern
experience has proved that this is more or less true ; tin is apt to oxidise under
heat and diminish in volume, so that it is important that the melting should be
accomplished as quickly as possible ; if the mixing does not proceed rapidly
enough, lead has to be thrown in to make up. Again he says (ibid. 98) : " Cyprio
si addatur plumbum, colos purpurae fit in statuarum praetextis."
The process of alloying did not usually follow imme-
Copper and diately on the smelting of the copper ore, but was undertaken
Bronze Alloys. separately, or on the spot where the bronze was to be worked.
Pure copper, as we have seen, was very rarely worked, at
least after the introduction of tin, owing to its incapacity to attain a sufficient
degree of hardness. The usual term for alloying is tcpaaLs, mixtura ; also in
Latin, temperatura. The preparation of the bronze was undertaken by a
XaX/covpyos, flaturarius faber, or fusor. The Latin term officina aeraria seems
to apply to the place for the preparation of the ore, not of bronze. The
respective proportions of the copper and tin are seldom mentioned in detail by
ancient writers ; Pliny in particular is consistently vague, and at times obviously
inaccurate ; moreover he seems to be speaking only of contemporary usages, not
of Greek methods. The most important passage is H.N. xxxiv. 97 : " Id quoque
notasse non ab re est, aes omne frigore magno melius fundi. Sequens tempera-
tura statuaria est cademque tabularis hoc modo : massa proflatur in primis ;
mox in proflatum additur tertia portio aeris collectanei, hoc est ex usu coempti.
Peculiare in eo condimentum attritu domiti et consuetudine nitoris veluti
mansuefacti. Miscentur et plumbi argentarii pondo duodena ac selibrae,
centenis proflati. Appellatur etiamnum et formalis temperatura aeris tenerrimi,
quoniam nigri plumbi decuma portio additur et argentarii viccsima maxumeque
INTRODUCTION. XXV11
ita colorcm bibit qucm Graecanicum vocant. Novissima est quae vocatur
ollaria, vase noraen hoc dante, ternis aut quaternis libris plumbi argentarii in
centenas aeris additis."
Here it can only be supposed that when he speaks of massa aeris, he means
the combined copper and tin. Again, the temperatura formalis which produced
the colorem Graecanicum denotes the combination of a tenth part of lead
with a twentieth of tin. A mixture of copper and lead only would be quite
impossible. We have further information on alloying with tin from a passage
in Philo, the mechanician (iv. 43, ed. Schoene, 1893) : avrai he i^covevOyaau fiev
^aX/cov 7rapacr/ceuacr0evTos epvOpov o><? ^prjaroTarov teal /ceicaOapfievov Ka\6)<i km
dTTOWTrjOevTOs irXeovd/cis, eW ovrcos els tijv p^vdv fjui^devros Kaaairepov d\jcfj<i
hpa^/ial rpels, ical toutov /ce/cadap/xevov /cal dTrcoirrriixivov 7T€pcaacos (i.e. a propor-
tion of three per cent, of tin) ; and again on the effects of the tin on the copper
in Plutarch, de defect, orac. 41, p. 433 A : /cal [x^v a>s Kaaalrepos p,avbv ovra ical
TToXinropov rov %a\/cbv ivra/cels d/xa pkv ecrcpty^e /cat KareirvKvcoaev, ap.a he.
XafiTrporepov dvehei^e /cal /caOapcorepov-
Pliny only seems to have known the varieties of ancient bronze by name,
hardly by appearance. He distinguishes three varieties of Greek bronze :
Delian, Aeginctan, and Corinthian ; but his distinctions are arbitrary and
unscientific. Probably these were varying mixtures of copper and tin. Each
was adapted for a particular purpose, and of the Corinthian bronze again there
were three varieties. Of the Corinthian he says : " aeris in usu proximum est
pretium, irarao vero ante argentum ac paene etiam ante aurum Corinthio "
{H.N. xxxiv. 1). The receipt for this alloy appears to have been lost at an early
date. A story was current that it owed its origin to an accident {hoc casus
miscuit, Corintho cum caperetur incensa, Pliny, H.N. xxxiv. 6) which occurred at
the sack by Mummius in B.C. 146 : " Ouicquid Corinthii aeris toto orbe laudatur
incendio superfuisse comperimus. Nam et aeris notam pretiosiorem ipsa opulcn-
tissimae urbis fecit iniuria ; quia incendio permixtis plurimis statin's atque
simulacris, aeris auri argentique venae in commune fiuxere" (Florus, ii. 16).
Another version is given by Plutarch, Pyth. orac. 2, p. 395 B : top /xev yap
Y^oplvdtov ou re)(yr) dWd auvrv^la ti)s XP°a<i ^afiew T« adWos, eTTiveifxa/xevou
7rvp6<; ol/ciav eyovcrdv ri ^pvcrov icah dpyvpov, ifkelarov he %a\/cbv diiOKeip,evov '
o)v avy^yOevTo^v /cal avvTa/cevrayv ovo/xa rod yak/cov tw /xel^ovt to TrXrjdos irapeyeiv.
In reference to this story, it is hardly necessary to point out that Corinthian
bronzes were known and admired long before B.C. 146. There is also an
interesting allusion to Corinthian bronzes in Petronius {Sat. 50).
Delian bronze was at first used principally for the feet and supports of
couches ; it then came to be used for statues of gods, men, and animals. It was
favoured by Polycleitos, and was used for the statue of the Capitoline Jupiter.
Third in the scale of popularity was the Aeginetan, which was used for
candelabra. It was also employed by Myron in the statue of the cow afterwards
set up in the Forum Boarium at Rome. Pliny mentions in this connection
a fourth variety of bronze, the Syracusan, which was used for doors, and also
XXV1U
CATALOGUE OF BRONZES.
for roofs. The roof of the temple of Vesta at Rome was covered with plates
of bronze arranged like overlapping scales {opus pavonaceum). Other possible
examples of Syracusan bronze in Rome are the doors of the Pantheon (if
ancient), and four columns in the Lateran Church, dating from the reign of
Constantine.
More is to be learnt about the composition of ancient bronzes from an
analysis of the metal than from literary authorities ; but up to the present
little has been done in the way of establishing and formulating results. We
have alluded above to experiments made by Dr. Schliemann on bronzes from
Mycenae and Hissarlik ; and a list of investigations with later bronzes is given
by Blumner, Technologie u. Tenninol. iv. pp. 186-190. From the former we
learn that in the Bronze Age the proportions varied as follows : Copper, 97*00
to 86*36; tin, 2-00 to 13*06. In Greek bronze vessels the proportion of tin
varies from 10 to 14 per cent, and in coins from 2 to 17 per cent. In Roman
coins the proportion is generally lower, and does not rise above 8 per cent. ;
but these often contain 12 to 29 per cent, of lead. Traces of lead, iron and
nickel are found at times in Greek bronze, and according to Pliny it sometimes
contained an admixture of gold, in the proportion of six scruples to the ounce,
this alloy being known as pyropus (see p. xxv.). An archaic fibula has been
shewn by analysis to contain 7 per cent, of gold and 20 per cent, of silver, as
against 73 of copper.
A few tentative investigations have been made on filings from certain bronzes
in the British Museum by Mr. Arthur Wingham, the results of which are here
appended in tabular form. It will be seen that, generally speaking, the proportion
of copper is highest in the earlier bronzes. The almost entire absence of tin and
its replacement by zinc in No. 836 is very remarkable, especially as there is
nothing in the appearance of the figures to suggest that they are not composed
of the ordinary alloy ; but they are very much decayed and corroded.
Object.
Period.
Num-
ber.
Copper.
Tin.
Lead.
Zinc.
Traces of
other metals.
i. Fragment of drapery
Greek, 5th cent. .
265
84-49
9"47
5-31
Iron
2. Archaic lion .
Etruscan ....
1751
82-IO
12*64
1-86
0-73
lion
3. Mirror-handle
Etruscan, 5th cent.
553
89-96
7-64
1-44
Traces Iron, silver
4. Apollo ....
Gaulish, 1st cent. A.D.
779
80*70
6-44
9-97 Traces Iron, silver
5. Dionysos ....
Graeco-Roman period
1328
85-05
10-35
4-62
Iron
6. Aurelius and Faustina
Roman, 2nd cent. A.D.
836
70-41
Traces
2-44
26-70
Iron
7. Gladiator ....
Roman, 3rd cent. A.D.
1605
79*26
4"7i
7-05
6-8o
Iron
Had the ancients any knowledge of our brass ? It appears that its com-
ponent, zinc, was only known to them as an ore, not as a metal ; and that zinc
oxide (i.e. /cao>a'a, according to Blumner, op. bit. p. 92) was used largely in com-
position with copper in Roman times, as we have seen in the above table, No. 6.
The result appears to have been what is known in Latin literature as orichalcum,
INTRODUCTION. XXIX
answering to our " latten." It is frequently mentioned by Alexandrine and
Roman writers, and is described as like gold in appearance, but not specially
valuable ; for instance, Horace (De Art. Poet. 202), in speaking of the difference
between the Roman and Greek stage, alludes to the
tibia non ut nunc orichalco vincta.
Early allusions to opeiyaXicov in Greek writers seem to be merely poetical, as
in Horn. Hymn, ad Ven. v. 9 : ev he rp-qrolai Xofiolai | avdefi opet%aA«of yjpvaolo
re Ttfnjev7o<? ; and again in Hes. Scut. Here. 122 : w? eliroov KvqpTihas opei-^akKoio
(paetvov, I '\\<paio~Tov kXvtcl hwpa, irepl Kv/jpirjatv eOr/ice. Plato (Crit. 1 14 E) speaks
of this metal with much commendation : kcli to vvv ovopba^opuevov p-ovov, Tore he
irXeov 6v6p,aTos r)v to yevos etc 7/7? bpvTTop-evov 6pef%d\Kov, kcito, tottou? ttoWovs
tj}? vtjerov, tt\i]v xpverov TtpucoTaTov iv toI? TOTe 6v. It is also alluded to by
Pliny (H.N. xxxiv. 2) as a natural mineral, long since exhausted.
There are in all five processes which were employed by
Methods of the ancients for the production of works in bronze: I. For
working1 in statues : (a) solid casting ; (b) beaten plates riveted together
Bronze. (acpvpijXaTov) ; (c) hollow casting or cire perdu. 2. For
reliefs and decorative work : (a) repousse work or epu-TracaTiKi] ;
(b) chasing or TopevTiicr).
Although 'xakicevs and <)(a^K^0V are use<^ generally for all kinds of metal,
words like ^aX/coruTretv and the like are restricted in their sense to working in
bronze ; the expression for " worked bronze " is ^;aX,«&)/u,a, or, in the poets,
Xa\icevp,a. Of Latin words, statuaria a>s was in Imperial times specially
applied to bronze sculptures.
One thing that is likely to strike a modern is the extensive use of bronze in
antiquity, as compared with its use at the present day ; and this even while iron
and other materials were equally well known and in equally constant use. For
instance, the ancients frequently employed bronze for locks and keys, for knives
and other tools, or again for defensive armour, spear-heads, and arrow-heads,
where in all cases we should use iron, or at any rate steel. No doubt this is
largely due to the invention of the latter metal, which appears to have been quite
unknown to the ancients, but. this does not explain the preference for bronze
over iron in many cases. It may also be noted that bronze is largely used for
furniture, such as chairs and couches, and for vessels of all kinds, where we
employ wood, glass, clay, and other materials.
The earliest Greek bronze figures are either cast solid or
Solid Casting. made by the process of o-tyvprfkenov, both of which methods
seem to have lasted down to the sixth century B.C., when
the hollow casting was introduced. No doubt the waste of valuable material
and inconvenient weight of the solid-cast statues led to the invention of this
later process. The process of solid casting was of course simple enough ; it was
presumably acquired from Egypt, where this process seems to have been known
XXX CATALOGUE OF BRONZES.
as early as the fifth and sixth dynasties.* All the earliest statuettes we possess,
such as those from Cameiros (132-138), are cast solid, and not a few later
examples ; it is quite intelligible that the easier process should have remained
in use for small objects, in the case of which its disadvantages were less obvious.
This was also the method employed in early and later times for works in relief
with a fiat back or for inscribed tablets ; Schliemann f found several stone
moulds at Mycenae which according to him had been used for casting small
bronze objects, though they are more likely to have been for stamping. Vitru-
vius testifies to the use of stone moulds (ii. 7, 4) : " non minus etiam fabri aerarii
de his lapicidinis in aeris flatura formis comparatis habent ex is ad aes fundendum
maximas utilitates." But such methods can only have been employed for small
and fiat objects ; for statues, which required a round mould, and one in several
pieces, some such material as sand, clay, or gypsum must always have been
employed. We have a reference to the use of clay by Hiram, king of Tyre, in
the Old Testament (I Kings, vii. 46) : " In the plain of Jordan did the king cast
them, in the clay ground between Succoth and Zarethan." We may suppose
that this method was universally employed for tools, weapons, and all small and
simply-formed objects.
The process of acpvprfkaroi', or riveting together beaten
Sphyrelaton. plates, appears to have held the field about the time when
sculpture was first obtaining a footing on Greek soil, and
when Greek art begins to have a history, and to emerge from anonymity. We
gather this, not only from the character of certain early bronze statues that
have come down to us, but from several notices in Pausanias in which he
describes the earliest specimens of Greek sculpture that he saw. Bronze appears
to have been the material of most ancient statues, at any rate down to the sixth
century B.C.
The image of Apollo on the throne at Amyclae, and a statue of Dionysos
at Thebes appear to have been cast solid, to judge from Pausanias' description
(iii. 19, 2) : "Rpyov ov Badv/ckeovs icrriv, a\\a ap-^alov Kalou avv rexvV TreTTOirjixdvov '
otl yap p.7] mpoawrrov ai)T(p kcu 7r6Se<? elcrlv aicpoc ical ^etpe?, to Xoittov ^aX/cco klovl
io-Tcv eiKaa/jbivov. Again, ix. 12, 4: lik^o-iov Be Awvvaov ayaXfia, /ecu tovto
'Ovao-o/jn']^ e7rotr;cre St' oXov TrXr/pes v-rro rov ^aX/cov. On the other hand
Semper i considers that the Apollo of Amyclae was an acrolithic statue with
pillar-shaped body (in fact a %6avov), of which the body was of wood covered
with bronze plates. He points out that the plating of wooden %6ava with
bronze arose from a desire to " clothe " them, and regards this as the first step
in bronze statuary. This idea of " clothing " comes out in another description,
by Pausanias, of a statue which was set up at Thebes next th* Dionysos just
* Perrot and Chipiez, Hist, dc PArt, i. p. 650. It should be mentioned Lere that a statue of Horn*,
belonging to a period earlier than the Fourth Dynasty, found in 1897 at El Kali, is made of bronze 1 dates
riveted together, as in the a^vp-qAarov method {Proc. Soc. Antiqs. 2nd Ser. xx'.i. p: 176).
f Mycenae, p. 108.
\ Der Stil, i. p. 234 ; see also Murray, Hist, of Gk. Sculpt, i. p. 75.
INTRODUCTION. XXXl
described (ix. 12, 4) : . . . irecrot %vXov e% ovpavov ' TloXvSwpov re to %v\ov tovto
^uXko) Xeyovaiv enriKoa/j.^aavTa Atopvaov KaXeaat HdSpiewv. We may com-
pare the use of bronze-plating for decoration in the Homeric poems,* and
also its use in the Treasury of Atrcus. Semper t speaks of the friezes of
Greek temples as being in a manner afyvp/fkaTa, i.e. bronze reliefs metamor-
phosed into stone. Probably all the metal-work mentioned in Homer was
beaten out hollow and riveted together out of plates, just as we find the
spear-heads of this period (cf. Nos. 19-29) hammered out of flat plates and
beaten up into a cylindrical form. Welding (tcoXXrjTi/crj) appears to be of
later appearance, and to have been borrowed from other civilisations ;
according to Pausanias (x. 16, 1) it was invented by Glaucos of Chios, whose
date is about 600 B.C.
It may be worth while to quote in full another passage of Pausanias which
throws light upon the acpvpqXaTov process. In iii. 17, 6 he is describing the
temple of Athene Chalkioikos at Sparta, near which was a statue of Zeus
Hypatos : iraXaiOTaTov trdvTwv OTrocra earl -^clXkov ' 6Y oXou yap ov/c ecrrcv eipyaa-
puevov, iXr/Xaapievov Be 18 ta twv pbepwv /cadauTo eKaarov auv>']ppLOo~Tai re 7rpo9
dXXrfXa, koX rjXoi crvve^ovaiv aura //,»; BiaXvOrjvai. ivXeap^ov Be civBpa 'Yr/ylvov to
ayaXpia 7rotrjo~at \eyovai,v, bv Alttolvou /ecu i/cfAAi'So?, ol he aurov AatSdXov <pao-\v
elvcu pLadrjTi)v.\ Here we see that the plates of bronze are riveted together,
not soldered, after being beaten out into the shape required. In this connection
we may notice a theory that has been promulgated § with regard to the statue
in the adjoining temple, where Pausanias speaks of bronze plates with bands of
reliefs, which, it is supposed, were not on the walls, but on the statue itself,
as suggested by a coin of Sparta, and by the reliefs on the statue found at
Lycosura.|| Ornaments and figures in relief in this process would have been
beaten up from behind with a blunt instrument, and finished by engraving the
details with a sharp instrument in front (a combination of the two processes
iparaLCTTiKr) and ropevTi/oj). The method described above is to be seen on the
Polledrara bust (No. 434) ; another early Etruscan statuette, the Aphrodite from
Sessa (No. 447), is cast with an iron core.
The next process that we have to discuss is that which
Hollow-easting held the field throughout the whole history of Greek art, and
in bronze. in a modified form has continued in use down to the present
" Cire perdu:' day. The method universally employed was that known as
cire perdu, the name referring to the manner in which the
* Od. iv. 72, vii. 86.
t Op. tit., p. 436.
% On the date of Clearchos, see Studniczka in Romische Mittheil. ii. (1887), p. 108 ; E. A. Gardner,
Handbook of Gk. Sculpture, pp. 102, 154. Probably it was for religious reasons that this statue was
executed in the more primitive method which had fallen into disuse, and hence the origin of the tradition
connecting him with Daedalos.
§ Murray, Hist, of Gk. Sculpt.2 i. p. 38; Frazer, Fausamas, iii. p. 345.
|| Cavvadias, Fouilles de Lycos ur a, pi. 4.
XXX11 CATALOGUE OF BRONZES.
wax model was disposed of and replaced by the bronze, as the epigram in the
Anthology puts it (Antk. Plan. 107, ed. Jacobs, ii. p. 657) :
I/cape, /cr/pos p,ev ere SccoXecre ' vvv Be ere Krjpat
tfyayev els p^opeprjv av0L<i 6 ■^aKKorvTro^.*
The first proceeding is to make a clay or plaster model, roughly reproducing
the whole conception, but on a slightly smaller scale. This model was known
as TrpoirXacrpia, argilla ; it was built on a skeleton of iron, with a core of soft clay
carefully beaten up and mixed with pounded pottery. Over this model was
laid a thin coating of wax in sufficient thickness to give a perfect modelling of
the future statue, the smaller details being touched up with tools of wood, ivory,
or bone. The wax was pierced at many points with bronze rods half an inch
square in section, which were left projecting to some distance. In other places
holes (Tpv7r)]p,ara) were left, and small tubes inserted. The production of the
outer mould required very great care, as it had to stand the action of fire. It
was made of pottery pounded extremely fine and mixed with clay and water
to the consistency of cream, which mixture (d\oi(f»]) was applied in several coats
or "slips" over the inner mould until it was reduced to a shapeless lump. It
was then bound round with hoops of bronze or iron and was gently lowered to
a horizontal position and tilted up over the furnace, or, in the case of a large
statue, lowered head downwards into a pit with a fire at the bottom. The inner
surface of the mould had now received the impress of the modelling, and the
wax could be removed by means of the tubes mentioned above, while the bronze
rods held the core firm and prevented it from rattling inside the mould. A hole
was made in each foot of the statue, and molten bronze was poured in in place
of the wax which had been extracted by the heat. It was a matter of some
difficulty to get the metal to run into all the cavities, owing to its liability to
cool rapidly, and fires would have to be constantly kept up at a great heat. The
statue was now left to cool for some days, at the end of which the outer mould
was carefully chipped off, and the ends of the bronze rods were cut smooth.
The core was extracted by means of iron rakes through the sole of the foot,
being shaken out in little bits. Cracks or raised lines caused by defects in the
mould, or " honey-combing " caused by air-bubbles, had to be carefully made
good, and it was often necessary to touch up the hair to make it stand out more
sharply. The surface was then prepared by colouring, lacquering, or gilding, of
which processes we shall speak later on. The great advantage of this method of
casting bronze over work in marble is that the result gives the direct rapid work
of the artist in the wax, instead of a laborious accomplishment of his conception. f
* There is a passage of similar purport in Diog. Laert. v. I, 33 : cos iu rep Ki\p<$ 6 ''Epfj.'is eirnri8ei6TyiTa.
(■)(ovti imSt^aaOat rovs xaP°"CT^Pas! Ka^ & *v rV Xa*-KV "''Spicis ' k.i#' i^if 8e Keytrcu ^vreAf'xeia ?j rov
ovvTiTthr (Tfiivov 'Epfj-ov 7) avSpidvTOS.
t This account of the process is that of the modern are ferdu, but it is in the main klent'cal with the
ancient method, as far as it is known to us. A very vivid and instructive account of casting a statue is
given by Benvenuto Cellini in his Life {ed. Symonds, 1896), p. 360 ff. See also Blumner, Technologies iv.
pp. 286, 325, note 2.
INTRODUCTION. XXX111
The allusions to this process in ancient authors are for the most part isolated
and uninstructive. But we arc acquainted from the lexicographers with some
of the technical terms employed, as from the passage in Pollux (x. 189)* : aurb
he to 7ri]\,wov, b TrepceiXi-j^e tcl irXaaOevra K/jpiva, a Kara rijv rod 7rvpb$ irpoafpopdv
rijKerac, kcu iroXXa iiceivw rpv7r>]p,ara evaTToXeiirerai pui'XiySos (v./. XlyBo^) KaXeirai.
From this we learn that fi'iXiySos or XiyBos was the term for the outer mould of
clay ; it is defined by Phot i us (s.v. XiySo<i) as ^wfo? rpijpiaTa e^wv avi'e-^rj
jeaaapa izapcnrX^o-ia, Be &v 6 ^aXKos rjOeiTai. The core within the wax appears
to have been called icdvafios (Pollux, ibid.).
But if literary information is somewhat scanty, art supplies us with some
very valuable information in the shape of a vase-painting,f representing the
interior of a bronze foundry with statues in process of completion. The vase
has been frequently illustrated and described, and does not require more than a
passing allusion here, but it is more instructive to us than any descriptions by
lexicographers or writers on art could be. One of the chief points on which it
throws a light is that casting appears to have been generally done in separate
pieces, the parts being afterwards welded together ; the head of one of the two
statues represented lies on the ground beside it, while a foot and a hand are
suspended from the wall of the foundry. This is of a piece with the evidence of
Philo Byz. de sept. sped. 4 : real Sea tovto toi"? aXXovs di>Bpidpra<; 01 re^vlrac
7rXdcraouo-L irpoiTOv, elra Kara p,eXrj BieXovres -^(ovevovai kuX TeA.09 6'A.ot<? crvvdevre^
earvcrav ; evidence supported by Quintilian (ii. 1, 12) : "is ne statuam quidem
inchoari credet, cum eius membra fundentur " ; and id. vii. pr. 2 : " neque enim
quamquam fusis omnibus membris statua sit, nisi collocetur." And Lechat
has published in the Bull, de Corr. Hell. xv. (1891), pis. 9, 10, p. 461, a statuette
of Aphrodite from Dodona composed of two separate pieces, with a base, the
point of division being the waist. The two parts were joined by rivets, while a
piece was attached under each foot for insertion in a slit in the base.
One notable feature in ancient bronzes is that they were cast extraordinarily
light. For instance, the statue of the Praying Boy in Berlin can be carried by
a man, while a life-size statue of a woman in Munich only weighs no pounds.
A question has been raised in reference to the word o-ro/xweri? used by
Plutarch {de Pyth. orac. 2, p. 395 B) : 1) Xeyopcevrj rcov £i(f)cbv crTo/zctXTts", ^5 itcXnrovo-r)<;
eKe-^etpiav eo-ye TroXepuicwv epywv 6 £/(£o<?4 This seems to refer to a process of
hardening or tempering bronze like steel, especially for weapons, which was
supposed to have fallen into disuse, and to have become a lost art. With this
passage we may compare such phrases as -^oXkov ficupds (Aesch. Ag. 612) and
the passage in Pausanias (ii. 3, 3) about dipping the Corinthian bronze in the
water of Peirene. On the whole, the testimony seems to weigh against the
ancients having had any chemical or mechanical knowledge of a tempering
* See Blumner, Technotogie, iv. p. 286, note 2 ; also Murray, Handbook of Gk. Archaeology, p. 319.
t Berlin Cat. 2294 ; Murray, Hist, of Gk. Sculpt."1 i. frontispiece ; B'iimner, Technologie, iv„
pl- 5- P- 330.
% See a passage to the same effect in Procl. ad Hes. Op. et Di. 142.
XXXIV CATALOGUE OF BRONZES.
process, but they ma)' have been in the habit of dipping bronze into water to
cool it, and in a measure increase its hardness.
The ancients had many devices for embellishing the
Patina and surface and enhancing the effect of their bronze statues.
Artificial Much, however, that we read in Pliny and other writers on
Embellishments. this subject is utterly untrustworthy and mere romance,
as, for instance, the story of Seilanion's statue (Plut. Qu.
ConviV. v. I, 2, p. 674 A) : ri]v 7T€7r\a(T/LievT)v 'loicdcrTTjv, rjs <$>a<jiv ei<? to Trpoaunrov
(ipyvpov ti aufx/xl^ac rbv re^yii^v, 07r&)<? eickhirovTos dvdpdywov real /xapaivo/xevov
\d/3>j irepupdveiav 6 ^aX/co?. Or, again, Pliny's story of a statue of Athamas by
Aristonidas {H.N. xxxiv. 140) : "cum exprimere vellet Athamantis furorem . . .
aes ferrumque miscuit, ut robigine eius per nitorem aeris relucente exprimeretur
verecundiae rubor." It is hardly necessary to remark that such results are
scientifically and technically impossible, for even if iron had been mixed with the
copper, it could not have been arranged in the casting that the blush should
appear in the right place ; and with regard to the silver producing paleness, the
same argument applies. These stories probably arose from some accidental
colouring of the bronze from an external source. There is no doubt that the
Greeks had a fondness for polychromy in bronze as in other statues, and did
endeavour to obtain effects by artificial means. We have already alluded to the
color Graecanicus produced by an admixture of lead and plumbum argentarium,
and the results obtained by combining lead with Cyprian bronze (Pliny,
xxxiv. 98). Dio Chrysostom tells us that for statues of athletes a kind of
bronze was employed which reproduced the sunburnt effect of their skin : el^e
8e to ^po)[xa ofxoiov ^aX/co3 KeKpa/xevo) (cf. the Jupatizou of Pliny, xxxiv. 8).
Plutarch again in a very interesting and important passage {de Pyth. orac.
2, p. 395 B) speaks of the statues of the sea-captains in the great Spartan dedi-
cation at Delphi as being of a blue colour, to indicate their association with the
sea : idav/xa^e 8e tov %a\fcov to dvdripbv, ti)? ov irivto irpoaeoiKo^ ovSe t<p, fiacpfj 8e
Kvavov aTt\(3ovTo<i, coare teal irefx^rai, ti 7rpo<f tovs vedp%ov<;, drr' eKeivoov yap rjp/cTai
Trjs deas, olov aTe^voyi 0a\arriov<i ry %pba iced ftvOiovs k&ronas.
In connection with this passage and the others quoted above, the question
has lately been raised whether the Greeks did not apply an artificial patina of
some kind to their statues in order to give them a somewhat similar appearance
to that which they present to us when coated with a natural patina after burial
in the earth. In the last-named passage Plutarch goes on to enquire : rA/?' ovv
KpaGis Tt<? r)v koI (j)dpp,a^i>i roiv irdXat Teyyirwv nrepl rbv yaknov ; If so, Pliny's and
Plutarch's stories may be susceptible of some such explanation. The latter,
however, in the passage just quoted, proceeds to give various quasi-scientific
explanations which cannot be regarded nowadays as serious. In the first place,
he refers to the absurd story about the appearance of the Corinthian bronze (see
above, p. xxvii.) ; secondly, he explains it by the effect of corrosion on this particular
bronze : \eTn<?) <ydp ovri koI KuOapco koX hiavyel TTpOGirlinMV 6 M)9, eK^ai'iaraTcm
(cttiv, ev he roU dWois vypoU dcfxtvi^Tai, k.t.X. Lastly, he attributes it to the
INTRODUCTION. XXXV
climate of Delphi and the effect of the atmosphere, which explanation M. Lechat
has paraphrased in modern scientific terms as follows : "The climate of Delphi
has all the characteristics of a mountain climate ; from one season to the other
the differences of temperature arc considerable, and it becomes moist after
having been very dry ; moreover, the air is particularly rich in ozone, and these
circumstances are the most favourable to the oxydisation of bronze."
The first to call attention to the possibility of an artificial patina was
Heuzey (apud Carapanos, Dcdone, p. 217), and this idea has been strongly taken
up by Lechat {Bull, dc Corr. Hell. xv. (1891), p. 473 ff. ; and again in Revue
ArcJieol. xxviii. (1S96), p. 331). The latter comes to the following conclusion : That
all patina is deliberately produced by the artist, but in two ways : (1) naturally,
i.e. " exhaled " by the bronze, owing to the particular formula of the alloy
calculated with a view to the production of patina ; (2) artificially, i.e. produced
by a coloured varnish which supplies immediately a patina similar to the natural
one. But he would leave further investigations to the decision of chemists.
De Villenoisy {Revue Archiol. xxix. (1896), pp. 67, 194) combats the theories
of Lechat, and maintains that patina is natural and chemical, and due to the
action of air and earth. Certainly Lechat's assertion seems far too sweeping,
especially when it is considered that bronzes from the same locality often have
the same patina, and that it is almost possible to tell what part of Europe a
bronze has come from by its appearance. For instance, the Graeco-Italian
bronzes in this collection, acquired from Sir W. Temple and Sig. Castellani,
generally have a bright apple-green colour ; these all come from Campania.
Again, the Etruscan bronzes from the Lake of Falterona are all covered with a
very beautiful brownish-green patina ; and the Gallo-Roman bronzes from the
Comarmond collection are nearly all of a yellowish colour. These may be
isolated instances, but it is only fair to suppose that in these cases the colour
of the patina must be due to the nature of the soil.
There is, however, sufficient evidence that the Greeks were acquainted with
some kind of artificial patina which they could use upon occasion. This was
probably done by combining a basis of sulphur with silver, iron, or lead, according
to the colour required ; this was mixed into a paste and spread over the bronze,
and heated, producing a patinated surface of sulphurate of bronze. Pliny
(H.N.xxxW. 1 5) appears to allude to this process : " Bitumine antiqui tinguebant
(hominum statuas), quo magis mirum est placuisse auro integere. Hoc nescio
an Romanum fuerit inventum ; certe etiam Romae nomen habet vetustum "
(see also xxxiii. 131).
The final stages in the completion of a bronze statue were all with a view
to giving it as far as possible a polychrome appearance. They include inlaid
and plated work, gilding and silvering, and enamelling.
As regards the gilding and silvering of statues, we have already quoted
several passages in allusion to it. It was a fairly universal practice, and among
the smaller statuettes and other objects in our collections a considerable number
of gilt and silvered specimens exist. Pliny mentions a statue by Lysippos that
c 2
XXXYl CATALOGUE OF BRONZES.
Nero ordered to be gilt over (xxxiv. 6$) ; and Pausanias refers to a gilt statue
of Gorgias of Leontini (x. i8, 7), which Pliny (xxxiii. 83) states to be of solid
gold. The Phryne of Praxiteles was also gilt (Paus. x. 14, /).* Mirror-cases
were frequently plated with silver on the flat side, and were highly polished for
purposes of reflection by dipping the mirror into a bath of melted silver. In
order to gild the surface of a bronze statue mercury was employed, on which
the gold leaf was laid, and fired on in a furnace, the heat driving away the
mrrcury and leaving the gold secure. When cold it was polished with
burnishers. The same process was employed for fixing silver.
Inlaid work appears in two forms : damascening and niello. The former
process was employed for necklaces, bracelets, and patterns of dresses, either
silver or gold being used Among the best examples in the Museum collection
are the fragments of drapery belonging to the bronze leg from the Piot collec-
tion (No. 265). Silver was also u=ed by this process for the lips and nails
of statues. The pattern was cut very deeply into the metal with a sharp tool,
the bottom of the groove being rather wider than the top ; gold or silver wire
was laid in the grooves and beaten in carefully with a hammer.
Niello work (Lat. nigellum) required a somewhat more elaborate process.
The material was prepared by mixing certain proportions of silver, lead, and
copper, into which alloy, while melted, a certain proportion of sulphur was
infused, forming a sulphurate of those metals, of a dark grey colour. This was
o-round up into a fine powder and shaken out of a quill on to the lines of the
pattern cut deeply in the metal, which had been previously heated over a brazier
so that the niello might melt in the pattern and cool to the right consistency.
Enamels were obtained from coloured glass, oxide of tin being added to
produce opacity and oxides of other metals for various colours. They were
chiefly used for the eyes of statues, which required special workmen, as we learn
from inscriptions which give the name of fader ocularius (C. I. L. vi. 9402, 9403).
Other materials were also used for the eyes of statues, such as diamonds
(No. 192), garnets (No. 834), silver and ivory. Enamelling on bronze has been
supposed to be an invention of the Celts, and only known in later times to
classical nations, on the authority of a passage in Philostratus {hnagg. i. 28 :
ravTci <$>aai ra xP(^riara T0^"? e'w '^eavm fiapfidpov? eyx^ tcS %aX/cw hiairvpw, rd
he avviaraaOai koX \i0ovcrdtu koX adifytv a iypafii]). No doubt the process is
very common in the art of the Gaulish nations.f
Next to the process of hollow casting in bronze, the most
Repousse work. important and the most generally employed is repousse
work. It plays a very large part in ancient bronze work,
and a thorough knowledge of it was necessary to the statuary for the final details
and polishing of his statues after the cire perdu process. This process was
known to the ancients as efnraujTiKtj, and closely connected with it was the
* Sec also Bliimner, Technologic, iv. \\ 309 ff.
f See Murray, Handbook of Gk. Archaeology, p. 30S.
INTRODUCTION. XXXvii
process of ropevTiKi) (caelatura) or chasing, which was, in fact, a necessary-
complement of the other. The method is one that dates back to the earliest
times, and is employed for other metals, silver and gold, as well as bronze. The
a(j)upi']\arov, which has been discussed above, is only an early variety of the
process ; it was also employed for spear-heads, which were beaten out of a flat
plate and bent up into the necessary form. The method generally employed
was as follows : A plate of thin metal was heated and pressed down on to a tray
full of pitch, to which it of course adhered. The pattern was drawn on the
plate and blocked out roughly with a punch and hammer, the metal being
embossed in the soft pitch, which, however, is hard enough to prevent the tool
going through. The plate is then heated again, removed, heated a third time,
and put in the reverse way, and the other side is first hammered and then worked
up with a sharp graving-tool. The finest instances of repousse work known are
the Siris bronzes (PI. VIII.) ; many of the designs {emblematd) on the Greek
mirror-cases are also exceedingly beautiful, and of most elaborate technique.
The process of incised or engraved work was not much practised by the
Greeks (though we possess two fine examples on the mirrors Nos. 288, 289, and
an archaic specimen in the diskos, No. 248), but was brought to a pitch of per-
fection by the Etruscans in their cistae and mirrors. To an Etruscan a mirror
was what a kylix was to a Greek vase-painter of the fifth century, an object
which afforded him the opportunity of shewing unlimited skill in drawing and
genius of conception, and the great engraved friezes round the cistae are of no
less merit than the mirror-designs.
III. GREEK BRONZE WORK.
The first section of this Catalogue (A. Nos. 1-336) is
Sculpture in occupied with the description of bronzes found on Greek soil,
bronze in Greece, or which, for reasons of style or from the inscriptions they
1. The arehaie bear, may be attributed directly to a Hellenic origin. A
period. history of Greek bronzes must necessarily be in a measure a
history of Greek sculpture, and therefore beyond the scope
of a work of this kind, but there are many features peculiar to Greek bronze
work as opposed to marble which call for special remark, and for illustration
from the examples hereafter to be described. Until recently the number of genuine
Greek bronzes in existence afforded little material for classification, especially
in the archaic period ; but recent excavations have done much to extend our
knowledge in this respect, and moreover the chronological data that have been
derived from pottery-finds can be applied to such bronzes as have been found
with the various classes of pottery, as at Cameiros, with a view to a more
accurate estimation of their place in the history of art.
We have made some allusion to the bronze remains of the Mycenaean
period, chiefly from a technical point of view ; the artistic side can as yet hardly
be said to be represented. But even among Mycenaean remains there occur
XXXV111 CATALOGUE OF BRONZES.
here and there specimens of sculpture in bronze, rude and primitive, no doubt,
but yet showing signs of the innate Greek genius, and standing at the
threshold of the long course of development which can be traced up to Pheidias
and Polycleitos. Among these may be mentioned a remarkable specimen found
by the British School in Melos,* which appears from the circumstances of
discovery to be even anterior to the actually Mycenaean remains, but is yet
quite Greek in character. Two small bronze figures of animals of exceptional
merit have been found on Mycenaean sites (No. 42 at Ialysos, and No. 3195 at
Maroni in Cyprus). Other bronze statuettes of this period and of a similar type
are illustrated by Perrot and Chipiez, Hist, de /'Art, vi. figs. 349, 353, 354. In
Cyprus and Sardinia again are found rude primitive bronze figures which owe
something primarily to Greek influence, but bear the unmistakable impress of
local handiwork (see Nos. 179-185, 337, 338).
Conversely in the earlier statuettes of Hellenic workmanship we can trace
Mycenaean affinities, not without a considerable share of Oriental influence.
This is seen in the small figures from Cameiros (Nos. 132-178), and again in the
votive bronze figures from Olympia, all of which belong to a period when repre-
sentations of animals had become common enough, but those of human beings
were as yet comparatively rare, and tentative at best. The period is that
represented in vase-painting by the Geometrical or Dipylon pottery. All the
Olympian bronzes of this type were found at the same level and in one part of
the Altis at Olympia, near the Pelopion and Heraion. The circumstances of
their discovery as well as their style point to their belonging to one period, and
that the oldest represented at Olympia. If the date given by tradition for the
foundation of the Olympic games (776 B.C.) be correct, we may fairly date these
objects in the eighth century B.C. Another point which indicates an early date is
that they are ascertained by analysis to be virtually of pure copper ; and further,
they are all cast solid. These figures mostly represent oxen or horses, many of
the latter closely resembling the types on the Geometrical vases. The human
figures are nearly all sexless. These figures find a close parallel in the series
of early bronzes from Italy represented in this Catalogue by Nos. 339-360 and
394-428. Among other objects in bronze found in large quantities at Olympia,
the commonest are fibulae, diadems, vases, and tripods.
We may then regard the eighth century B.C. as the threshold of the history
of bronze-work in classical Greece, this being roughly contemporaneous with the
advent of the Iron Age. Bronze still retains its popularity as the material for most
of the smaller objects, such as implements and weapons ; but it is devoted for the
most part to the requirements of ordinary life, and except for merely decorative
purposes, or for the production of large numbers of small votive objects and
amulets, as at Olympia, it is not employed for purely artistic productions.
Statuary in fact as an art had not yet come into being.
As at Olympia, so at Cameiros in Rhodes, at Thebes, and on the Acropolis
* Annual, iii. (1896-7), pi, 3.
INTRODUCTION'. XXXIX
of Athens, excavations have yielded a fruitful return of personal ornaments and
objects in daily use, such as fibulae, weapons, and vessels of bronze. These objects
are in most cases found in the same tombs with Geometrical pottery, and to
some extent follow the same stages of development. It has been proposed
to distinguish three periods into which these vases may be divided,* marking
in their decoration three distinct stages of artistic development: (i) merely
geometrical patterns ; (2) figures of quadrupeds, birds, and fishes ; (3) scenes
from daily life, with human figures, such as funeral processions and sea-fights.
Now Thebes of late years has yielded a number of fibulae with a sail-shaped
foot on which are incised designs closely corresponding in character to the three
periods of the vases. Some, as Nos. 122, 123. 129 of this Catalogue, have only
patterns; others, as Nos. 119 and 120, have figures of animals: horses, deer,
lions, and swans ; while thirdly Nos. 121 and 3204 bear figures of ships, with in-
teresting details, and may be ranked with the vases of the third period. No. 3205
is exceptionally interesting as a unique instance (for this period) of a mytho-
logical subject ; it represents the combat of Heracles with the Hydra and the
crab sent by Hera. The type of fibula is one of some interest, and appears to
be confined to this period ; it also occurs in considerable numbers at Olympia.f
The next stage of development is represented by the
Early Greek early Greek reliefs, which are in fact the first specimens of true
reliefs. Hellenic art in bronze, though it cannot be denied that
decorative bronze-work of this kind occurs among the remains
of the Mycenaean period, and was known to Homer. But no work of the earlier
period was quite free from external and Oriental influences ; these reliefs on the
other hand are purely Hellenic, and only in a measure indebted to Mycenaean
art. Of this indebtedness an interesting example is a relief found at Olympia
representing the ciXios jepcov, which preserves a type already familiar to us on
an " island-gem " in the British Museum (Cat. of Gems, No. 82). Two kinds of
bronze are used for these reliefs, one harder and more brittle used for ornamen-
tation in the Geometrical style, the other softer and more malleable for the
so-called Argive-Corinthian reliefs with subjects. The Museum possesses five
small specimens of the latter variety from Eleutherae on the borders of Attica
and Boeotia (i87,_5), one of which bears a row of heads wearing a headdress
which is reproduced on Corinthian vases.
In regard to these reliefs, a controversy has recently arisen. Those found at
Olympia, at Eleutherae, and on the Acropolis of Athens were supposed to owe
their origin to the bronze- workers of Corinth, or at any rate to a Peloponnesian
school of art.| Not only did such small details as the headdress just referred
to, or the plait-band which occurs on No. 1875 and elsewhere, betoken a con-
* Sec Kroker mjahrbuch, i. (1S86), p. 95 (f.
f The chronological sequence and development of these objects is discussed later (p. lix. ). On the
Geometrical fibulae see Ann. deW Inst. 1S80, p. 122; Olympia, iv. Nos. 362-366 (Furtwaengler) ; De
Kidder, Bronzes de la Soc. Arch, d' 'Alliines, p. 56; Perrot and Chipiez, Hist, de F Art, vii. p. 24811".
; Furtwaengler, Bronze/, aits Oly/u/ia, pp. 80, 93 ; fount. Hell. Stud. xiii. p. 249.
xl CATALOGUE OF BRONZES.
nection with Corinth or Argos, but the inscription on the aXios ye'pwv relief was
in undoubted Argive characters. But many cogent arguments have been
brought forward by M. de Ridder * for the existence of an Ionic, perhaps
Chalcidian, school to which they owe their origin.
It is de Ridder's main contention that the influence of
Introduction of a Peloponnesian school is not to be traced at Athens before
hollow-easting. 500 B.C., and that there are grave reasons for doubting whether
any such schools existed at all. It has also been maintained
by Studniczka (Romische Mittheil. ii. (1887), p. 107) f that hollow-casting of
bronze statues was not introduced into the Peloponnese before 500 B.C., and that
this betokens a late development of art in this part of Greece. It is undeniable
that we should expect Athens to be subject to the influence of Ionian rather
than Dorian schools, and that Chalcis was in close communication with the
Ionian civilisation of Asia Minor, as was also Boeotia through Chalcis, where
the greater number of early reliefs has been found. Chalcis again was the only
town in Greece possessing copper-mines of any importance, and it was a great
commercial centre from the eighth to the fifth century. Not only in bronze-
work but in pottery we can trace a close connection between Chalcis and
Corinth ; for the so-called Proto-Corinthian ware is found in Boeotia as well as at
Corinth, and at the Chalcidian Cumae and the Corinthian Syracuse ; and even
at a later period it is very difficult to draw a line of demarcation between Corin-
thian and Chalcidian vase-paintings. The most probable conclusion therefore at
which we can arrive is that a school of bronze-work was first set up at Chalcis
about the eighth century, and that the close connection of that city with Corinth
led to the formation of a similar school at the latter centre ; the same may also
be true with regard to the pottery.
In the history of Greek sculpture no advance was made either in technical
or artistic development for a considerable period. The rise of the art dates
from about 600 B.C. The story of the invention of bronze-casting by Rhoecos
and Theodoros is not without a germ of truth. They probably learnt their
craft in Egypt and introduced it into Greece, or improved processes hitherto
employed. The tradition concerning them is preserved by Pausanias in two
interesting passages: (1) viii. 14, 7 : to Be ayaX/xa (of Poseidon Hippios at
Pheneus in Arcadia) 'OBvaaea dvadelvat ro %a\tcovv ovk ej(u> TreWeadat crcpiaiv '
ov yap tto) rore rov yakicov ra aydXpara Bed irdvro^ rjirlaravro ipyd^eadai
KaOairep eadijra e^v^aivovre^ ' rporrov Be ocrris r\v a\jroi\ e\ ra yaKxa epyacrias,
eBei^ev ijBt] p,oi rov e's: %7rapridra<i \6yov ra eirl rov dydXparo^ rov v^iarov Ato?
(iii. 17, 6). Bie^eav Be %a\fcbv rrponoi teal dydXpara eywvevaavro 'Pot^o? re
* Braizes de V Acropcle, p. xv. ; de ectypis aeneis, pessim ; see also Joitrn. Hell, Stud. xvi. pp. 325, 334.
t Eurtwaengler (in Sitzungsbcr. d. bayer. Akad. d. PViss. 1897 = Nate Denkm. d. ant. Kunst,
p. 113) combats Stuclniczka's views, in publishing a bronze head from Sparta, for which he claims a date
as early as 550 B.C. This accords better with the tradition that Rhoecos and Theodoros, who belong to
the seventh century, introduced hollow-casting into the Peloponnese from Samos (see following page,
and Paus, iii. 12. jo).
INTRODUCTION.
xli
<J>t\awf tcai QeoScopos TrfXe/ckiovs "Zdfitot. (2) x. 38, 6 : iSijXcoaa Be iv toi?
TrpoTepois tou \6you ^La/xiou? 'VoIkov <t>i\alov kcil (~)c68a)pov T?;Xe/cXeou9 eivat tou?
evpovras ^oXkov e? to d/cpiftearaTov rfj^at ' kcil ^(ovevaav ovtol irponoL, k.t.X.
Pausanias is here speaking of a statue of Night at Ephesus by Rhoecos, the
oldest known hollow-cast statue.
There appears here to be a distinction between the words Siexeav and rf]%ai
on the one hand, which denote the fusing or melting of metal, and i^wvevaavTo,
which refers to the casting in the mould (^wi/09). From Pliny is derived
another tradition concerning Rhoecos and Theodoros, that they were the first
modellers in clay (xxxv. 152): "Sunt qui in Samo primos omnium plasticen
invenisse Rhotcum et Theodorum tradant multo ante Bacchiadas Corintho
pulsos." Probably this indicates a connection with the tire perdu process.
Theodoros and Rhoecos being chiefly workers in bronze may have introduced
the practice of making preliminary models in clay. Pliny has indeed recorded
a rival tradition (xxxv. 151) to the effect that Butades of Corinth invented the
art of modelling, but on the other hand we do not know that he was a sculptor
as well as a potter, and the first-quoted passage may have no further meaning
beyond its reference to models for bronze statues and the tire perdu process.
The date of these two sculptors must be the latter half of the seventh century
B.C., as Herodotos (iv. 152) tells us that in B.C. 630 the Samians set up in the
temple of Hera a large bronze vase supported by colossal figures, which must
have been cast, and was therefore subsequent to the date of their invention.
Most of the archaic bronzes in the British Museum belong to the end of
the period, about 520-460 B.C., leaving a gap after the Geometrical period,
which for Athens is represented by a series of bronzes found on the Acropolis,
and in Italy by the more primitive Etruscan statuettes and the objects from the
Polledrara tomb. This gap also corresponds to the period of the Proto-
Corinthian and Phaleron vases in pottery ; while the later archaic period, to
which these bronzes belong, is that of the Corinthian and Athenian black-
figured vases.
Our bronzes do not all come from Greece ; several fine specimens were
found in Italy, and it is possible that even among the statuettes classed as
archaic Etruscan there may be some which are really of genuine Greek
workmanship. Many of the inscribed objects can be roughly dated, but all
seem to fall between the years 560 and 450. The oldest inscription is on the
Corfu tablet (261), which is certainly not later than 550 ; the latest, the two
tablets with inscriptions in the alphabet of Ozolian Locri (262 and 263), cf
which the first falls between 480 and 455, the second about 450 B.C. The
helmet of Hiero (250) can be dated with absolute certainty by the event
alluded to in the inscription, which took place in B.C. 474 ; but the battle
from which the other helmet (251) came is unknown. The inscribed disc from
Kephallenia (No. 3207) should also be mentioned here.
From an artistic point of view, the most interesting of this group is No. 209,
the copy of the Apollo by Canachos ; strictly speaking, it is more an imitation
xlii CATALOGUE OF BRONZES.
or reminiscence than a copy, but it cannot be very much later in date than the
original, which was carried off to Persia in B.C. 494.* The style may be justly
said to bear out the criticism of Cicero {Brut, xviii. 70) that the statues of Canachos
were rigidiora quam ut veritatem imiteutur. Another statuette that can be
connected with a known work of art is No. 190, which Furtwaengler (Meistenv.
d. gr. Plastik, pp. 26, 3S) regards as a prototype of the Lemnian Athene of
Pheidias. No. 191 recalls the Athene Promachos of the same artist. No. 212,
a figure of an athlete, closely resembles the Harmodios in the famous group of the
Tyrant-slayers at Naples, though it cannot be regarded as an actual copy ; but
the style shows it to belong to the time of Critios and Nesiotes, the first half of
the fifth century B.C. A companion figure, No. 213, which came with this from
Corfu, also represents an athlete, but this statuette is more in the style of Myron,
and may be rather later in date. Here should also be mentioned the series of
statuettes which are associated with the early type of the draped Aphrodite
holding a flower (Nos. 188, 192-200). The type was created by Canachos
(Paus. ii. 10, 5), and further developed by Calamis (Lucian, Imagg. 6) and
Alcamenes (Paus. i. 19, 2). The type of Aphrodite is not markedly differ-
entiated at this period, and in many cases there may be no mythological
significance in the figures, but the probability is in favour of this goddess being
intended.! In Etruscan and Italian bronzes this type reappears, firstly as Venus-
Proserpina (Gerhard, Hyperb.-rom. Stud. ii. p. 121 ff), secondly as Spes, with the
characteristic motive of holding up the drapery with the left hand, which also
occurs in Greek examples, such as Nos. 192, 193. More certainly to be identified
are the Aphroditae that form the supports of mirrors, who are generally attended
by Erctes, winged or unwinged, as Plate I V. and No. 3209 ; the same type
occurs on several Etruscan examples, which, if not Greek importations, are
ceitainly close imitations of Greek work, such as Nos. 547-552. Two more
archaic bronzes which deserve notice as specimens of Greek engraving are the
disc from Sicily (No. 248). and the mirror No. 244, which, though Etruscan in
feeling, seems to be the work of a Greek artist.
The " finest " period of Greek art extends from about
2. Greek bronzes B.C. 460 down to B.C. 300. During that period several of the
of the finest great sculptors, such as Polycleitos and Lysippos, worked
period. entirely or almost entirely in bronze ; but it is hardly sur-
prising that we should possess no copies of their works in
bronze, having regard to the perishable nature and intrinsic value of this material.
Life-size Greek statues in bronze are almost unknown, with the exception of the
recently-discovered charioteer at Delphi,} the Praying Boy at Berlin, and a few
* See Murray, Greek Bronzes, p. 10.
f See Bernoulli, Aphrodite, p. 38 fif.
% This statue, it may be remarked, lias been attributed on plausible grounds to Calamis, but PJiny
(//. N. xxxiv. 71) implies that this sculptor was not successful in human figures. Compare, however, the
offering of Hiero (Pans. \i. 12, 1), for which Calamis made horses and riders. Besides, unless the existence
of an earlier Praxiteles is recognised, the dimrence of dates forces us to doubt the truth of Pliny's remarks.
INTRODUCTION. xliii
others ; the rest are all Graeco-Roman copies or later originals. We are the
more grateful, therefore, when fortune has spared us even such fragments as
Nos. 265-267 in our collection, as specimens of Greek bronze work of the fifth
and fourth centuries. Of these, Nos. 266 and 267 reflect in their artistic qualities
the work of the two chief sculptors of the fourth century, Scopas and Praxiteles.
The heads of Scopas have all a strong individuality of their own, in which the
most notable features are the low, broad forehead, the intensely-gazing, deep-
set eyes, and the large heavy nose. It is true that reasons have been given
for regarding the head No. 266 as from a copy of the Cnidian Aphrodite of
Praxiteles ; but this view is grounded chiefly on the hand holding drapery that
was found along with it, and it is not absolutely certain that the head is that of
Aphrodite at all.
No. 267, on the other hand, is undoubtedly Praxitelean. It bears a most
striking likeness to the head of the Apollo Sauroctonos, and the treatment of the
hair, the soft beauty of the head, and the whole artistic conception point to its
being, if not by Praxiteles, at any rate taken from an original by him. No. 271
also by its attitude suggests Praxiteles ; the S-shaped curve of the loosely-posed
body is seen in most of his productions, such as the Hermes, the Satyr, and the
Apollo Sauroctonos.
In No. 269 we have a figure which rather in its conception than in its
treatment recalls Myron ; it is a copy of his Marsyas, and appears to date
about 150 years later. The rendering of the hair, for instance, is more
characteristic of the Pergamene school, with its rough and strongly accentuated
masses of locks ; but we read that Myron, though advanced in other respects,
in his treatment of the hair adhered to the conventions of the archaic period
(Pliny, H. N. xxxiv. 58). No. 26S is an interesting example of early portrait
sculpture, and probably belongs to the period of Lysippos. Other Lysippian
bronzes are the Poseidon, No. 274, which, both in proportions and in conception,
recalls the type created by that artist, and the heroic figure, No. 286.
With regard to copies of Greek statues, it may be remarked that in many
cases they rather conform to a recognised and familiar type than imitate any
particular statue. This is seen in the many reproductions of the Athene
Promachos (as Nos. 191, 1037), or of the Cnidian Aphrodite (as Nos. 1079, 1097-
11C9). Or again we find a transference of types, as in No. 918, which, though a
Zeus, is yet in attitude and feeling wholly akin to the Doryphoros of Polycleitos.
The second section of this period in the Catalogue is devoted to reliefs
on mirror-cases, vases, or elsewhere (Nos. 285-311). Most of these have been
found in Greece itself, and furthermore we can be certain that they are all
genuine Greek originals, and not copies, so that the actual work can be dated
with more certainty than in the case of statuettes. The Siris bronzes (285)
have been so often and so fully discussed that it is not necessary to say more
about them here ; the heroic figure from Lake Bracciano (286) is a worthy rival
in style and beauty of execution, and also, as pointed out above, dates from the
time of Lysippos.
xliv CATALOGUE OF BRONZES.
Greek mirrors are far less common than Etruscan, and have, in fact, only
become known during the last thirty years by excavations. They have been
found chiefly at Corinth, where they were no doubt largely made, and also at
Athens, Eretria, and Tanagra, and in Crete. Archaic mirrors are generally in
the form of circular discs with a support in the form of a figure of Aphrodite ;
these appear to have continued in favour up to the end of the fifth century B.C.,
when they were supplanted by the mirror-cases decorated with reliefs, which
last into the Hellenistic period. Sometimes they merely consist of a case and
cover, with or without a hinge, the inner surfaces being polished for reflection,
and the top of the cover adorned with a relief; other examples have a detached
polished disc inside the case. Occasionally we find an incised design on the
detached disc or on the inside of the cover (see Nos. 288, 289). The style of
the reliefs varies very greatly ; Nos. 288 and 289 are in the finest style of the
fourth century ; 293 and 294 are coarse and late. The subjects on these mirrors
are generally Erotic or Dionysiac (as 288 and 295), but there are several
instances of mythological scenes on the Museum examples alone, such as 289,
291, 293, 294. No. 3210 bears a unique subject in the shape of a horseman.
Among the finer reliefs, though not from mirrors, are Nos. 304, 305, 308, 309,
310, 31 1, none of which are later than the fourth century B.C.*
IV. ETRUSCAN BRONZES.
Next in importance to the remains of Greek bronze-work
History of bronze- are those of Italy, especia'ly Etruria. The history of the early
working" in Italy, civilisations of Italy is somewhat confused, and has not been
Early civilisations, elucidated or even studied to the same extent as that of
Greece ; but it is still in a measure possible to distinguish the
various stages and trace their developments. The earliest civilisation of which
any traces have been found is that known as the Terramare, in the region of
the Po. The people were lake-dwellers, living on piles in the water or in the
marshy lagoons of the Po valley, chiefly between Piacenza and Bologna. It is
in this stage that we find the earliest examples of bronze remains in Italy, at
first contemporaneously with stone axes, spear-heads, and tools, survivals of the
Neolithic Age. The bronze remains fall under the headings of weapons, tools,
and objects of toilet, including spear-heads, axes, celts, knives, combs, crescent-
shaped razors (rf. Nos. 2420-2423), and pins. In several lake-settlements actual
moulds have been found.f On the other hand fibulae, rings, and bracelets do
not yet occur ; nor are iron, glass, or silver known, and gold is only represented
by a doubtful specimen. Traces of a contemporary civilisation have been found
* It may be noted heie that a hydria with a replica of the relief No. 310 has recently been found in
Rhodes; it is probable that the whole series of which Nos. 310-313 are specimens was manufactured in
that island, all having been found in the same region.
t Helbig, Die Italiker in der Poele/ie, p. 19.
INTRODUCTION.
xlv
in Latium, and this is represented by the funerary hut-urns found at Alba
Longa, of which a fine example is to be seen in the British Museum (Etruscan
Saloon, H i). The remains of the Neolithic Age are sufficient to indicate an
early date for these civilisations, and they are probably contemporary with the
earliest remains from Hissarlik and Cyprus.
To the Terramare succeeds (longo intervallo) the period known as the
Villanova (from the site of that name at Bologna), extending over the Po valley
and Etruria, especially the neighbourhood of Corneto. In every respect it shows
a higher development than the preceding stage. Iron is already known, and a
great advance has been made in the working of bronze, which is now not only
cast, but hammered and worked in repousse. The tombs of this period are of the
form known as a pozzo, that is, like wells or pits, and frequently contain jars or
ossuaria in bronze and clay, in which the bones were placed. The beginning of
this civilisation must date about iooo B.C., and it can be traced down to the fifth
century in the cemeteries of the Certosa near Bologna, but for the most part was
superseded by other and external influences from the seventh century onwards.
The bronze remains are of considerable interest. Sculpture, or at least the
representation of the human form, is as yet practically unknown, but models of
animals, of a rude and primitive kind, are very common as votive objects.
These, as has been indicated above (p. xxxviii.), fall into line with the finds at
Olympia, to which they are closely parallel. Large bronze urns and buckets,
and tripods, are of frequent occurrence, and often decorated in friezes. Among
the weapons and armour Occur swords of the " Ronzano" type,* some with semi-
circular heads, others with head surmounted by a recurved cross-piece. Dome-
shaped helmets surmounted by knobs are found (cf. Nos. 2725-2728). The
celts are of the second and third varieties (see Nos. 2912-2937) : palstaves, and
winged celts without a stop-ridge. More specially interesting, however, are
the fibulae, which include most of the earlier types, from the Hallstatt-type
onwards (see No. 1929 ff., and p. lix.) : "boat "-types, " leech "-types, " snake "-
types, " tail-piece "-types, and fibulae with elliptical bows decorated with pieces
of amber, bone, and glass. In the later tombs : " kite "-types, " horned-snake "-
types, and zoomorphic fibulae in the form of horses.
The Museum possesses a number of early Italian bronzes attributable to
this period (345-433), which have come from Etruria and other parts of Italy,
together with several statuettes (337-344) which are not easily classified, except
the first two, which appear from their resemblance to published specimens to
emanate from Sardinia, where they probably owe their origin to a Syrian source.
Nos. 345-346 are curious objects which appear to have some primitive religious
signification, and have been referred to some old Italian form of worship, such
as the Ambarvalia or the cult of Faunus Lupercus, from which the ceremonies
of the Roman Lupercalia were derived. t They seem to represent scenes from
* See Gozzadini, Mors de ckeval italiques, pi. 4.
t Garrucci, A bronze object from Lvcera, in Arehaeologia, xli. p. 275 ff. ; Rom. Mittheil. xii.
(1S97), p. 3 ff.
xlvi CATALOGUE OF BRONZES.
daily and rural life, such as ploughing, but it is quite impossible to determine
the use to which these objects were put. The duck which occurs so frequently
in this series of objects (Nos. 345-358) is characteristic not only of early Italian,
but of early Greek bronze work.* It occurs as a decorative motive on the
fibulae from Cameiros (No. 150), and again on vases of the Geometrical style ; as
also on numerous objects from the Hallstatt civilisation. It is noteworthy that
these bronzes are almost entirely free from Oriental fantasies or influence of any
kind, which indeed can hardly be traced in Italy before the sixth century B.C. ;
but there are parallels in the early art of Crete, and the frequent appearance of
the ape seems to suggest a connection (through Crete) with the north coast of
Africa.f A jar containing about fourteen thousand objects of similar character
from a bronze-founder's hoard was found at Bologna, and has been shown to
date from the end of the Bronze Age in Italy, about the ninth century B.C.
Similar extensive finds have been recently made at Vetulonia (Notizie degli
Scavi, 1887, p. 471 ff., and Falchi, Vetulcnia, 1891). An inclusive date for
these objects may be given as 800-500 B.C.
We have now arrive J at the stage of the earliest Etruscan
Oriental and civilisation, which is marked by the contents of the
Hellenic Polledrara tomb at Vulci. Such remains from Etruscan
influences in territory as can be attributed to an earlier date than this
Etruria. (620 B.C.) have nothing specially Etruscan about them, and in
fact present the same features as objects found elsewhere in
Italy. The traditions of the people themselves indeed predicate for them a
much remoter origin. According to their own beliefs, they settled in Italy about
the eleventh century B.C., and there is no doubt that the confederation of the
twelve cities was formed about the tenth century. The tradition of an
immigration from Lydia has very strong support,! and may well be founded on
fact. The early tombs for instance closely resemble in style those of Asia
Minor, with their facades and vaulted roofs and the tumuli erected over them.
These tombs in Italy are known as a fossa, or "trench-tombs," as opposed to
the "well-tombs " of the Villanova period.
As already indicated, it is in the Polledrara objects that we find the first
traces of Oriental influence^ Among them are ostrich-eggs, which can only
have been brought from Africa by way of Egypt, and thence either by
Phoenicians or by Greeks from Naucratis. This tomb also contained a
porcelain scarab with a cartouche of Psammetichos I. (B.C. 656-61 1), and five
porcelain aryballi with hieroglyphic inscriptions. Similar porcelain vases have
been found at Cameiros in Rhodes,! and are supposed to belong to the seventh
* Joicrti. Hell. Stud. xiii. p. 206.
t See Bull, di paletnol. Ital. xxiv. (1898), p. 161, and Reinach, Sculpt, en Europe, pp. 77-128.
% Ildt. i 94. ; Verg. Aen. viii. 479 ; Hor. Sat. i. 6, I ff.
§ The Polledrara tomb, otherwise known as the Grotta d'Iside, was found on the estate of that name
at Vulci in 1839. Most of the contents are now in the British Muieum ; see above, p. xv. Lord
Northampton once possessed a Corinthian vase fiom this tomb.
|| First Vase Room, A 1184, 1188-1191, etc.
[NTRODUCTION. xlvii
century B.C. Commercial relations with the Phoenicians were probably by way
of Carthage, which by this time was a state of some importance. Many Phoenici in
objects of considerable merit have been found at Palestrina (Praeneste), including
silver and bronze bowls of a kind also found in Cyprus ; this city, as the cistae
and mirrors found there seem to show, was apparently dependent on the
neighbouring Etruscans for its art.
But the recent investigations of many scholars * and a more extended
acquaintance with archaic Greek art tend to show that early Etruscan art owes
more to Hellenic, and more particularly to Ionic, influences than to those
of Phoenicia and Egypt. f As early as the eighth century B.C. a connection can
be traced between Greece and Italy in the founding of the colonies of Magna
Graecia. Of especial importance among these is Cumae, which was an
off-shoot of Chalcis, and therefore directly subject to Ionian influences. Now
we know that Etruscan influence in Campania must have been of considerable
extent, and that Capua was founded by the Etruscans about 600 B.C. It is easy
then to see how they can have come in contact with the productions of Ionian
art, and the reputation of Chalcis for bronze work justifies the supposition that
many fine specimens of it found their way through Cumae into Italy.} A
similar tendency is to be noticed among the vases found in Italy, which belong
to the sixth century B.C. The so-called Caeretan hydriae {e.g. Brit. Mas. Cat.
of Vases, ii. B 59), which have been mostly found at Cervctri, are now generally
held to be of Ionian fabric, or at least direct imitations of the same, and
numerous Etruscan vases exist which are directly imitated from this group (Cat.
of Vases, ii. B 60-73). It has been pointed out § that they have certain features
which suggest a familiarity with Asiatic and African countries, and which they
can only have acquired through the medium of Ionians in Asia Minor or
Naucratis.
Etruria also appears to have been subject to another influence, that of
Corinth. In this connection we may note the tradition recorded by Pliny
(xxxv. 152), who tells us that when Demaratus was expelled from Corinth,
he took with him to Etruria three modellers in clay, Eucheir, Eugrammos, and
Dropos, who established their art in Italy. The date of this event was B.C. 665.
The influence of Corinthian art was probably centred in Caere, but not confined
thereto, and is to be observed during the seventh and sixth centuries B.C. At
Vulci two Corinthian vases (now lost) were found in the Polledrara tomb.
The well-known hydria from this tomb (fourn. Hell. Stud. xiv. pis. 6, 7) seems
* Journ. He!l. Stud. xvi. p. 140, note ; Mon. Ant. del Lincei, vii. p. 289, note 1 ; Korte in Arch.
Studien H. Brunn dargebr. p. I ff. ; Rom. Mitthtil. ix. (1894), p. 253 ff.
t A small point which see.v.s to imply a still earlier link with Greek art is the motive of a lion with a
human leg in its mouth on the bronze fragments, No. 600. This ojcurs on two fibulae of the Geometrical
period {Zeitschr. fur Ethnol. 1889, p. 222, fig. 32, and No. 3205), and there is a similar motive on a
Geometrical vase in Copenhagen {Arch. Zeit. 1885, pi. 8, fig. 2).
X A number of Ionian Greek bronzes were recently found at Sala Consilina, near Paestum {Bull, de
Corr. Hell. xx. (1896), p. 421).
§ Duemmler in Rom. Mitihal. iii, (1888), p. 171.
xlviii CATALOGUE OF BRONZES.
to be of a local Italian fabric under both Ionian and Corinthian influences.
This leads us to speak of the bronze bust from this tomb (No. 434), the upper
part of which is undoubtedly of local make, but the bands of figures round the
lower part are Greek in feeling and style, if not in actual execution. They
afford points of comparison with both early Corinthian and Ionic works of art,
such as the gold reliefs published in Arch. Zeit. 1884, pi. 8, figs. 3, 4, 7. Other
Etruscan products in this collection which owe their origin to Ionic sources are
some fragments of repousse relief-work (No. 600) and the two bronze tripods,
Nos. 587, 588. The latter call for some further remarks. They belong to
a series, all found at Vulci, in which a development of type and style can
be traced, through an example found at Metapontum (Man. Ant. del Lincei,
vii. pi. 8), from an original Greek type, which is best represented by a specimen
found on the Acropolis of Athens.* This at first sight might be taken for
one of the Etruscan series, but that no Etruscan importations into Greece can
be traced further back than the fifth century B.C., while the Acropolis bronze
cannct be later than 550 B.C. In style these tripods compare with the archaic
bronzes of Perugia and Campania, as well as with their Greek prototypes ; they
cannot be later in date than 500 B.C. It is worth while here to mention the
descriptions given by Pausanias (x. 16, 1) and Athenaeus (v. 210 B, C) of the
stand dedicated at Delphi by Alyattes, the work of Glaucos of Chios. From
the details supplied by the former, the general type seems to have been
approximately that of our tripods ; the latter alludes to the representations
of animals and plants with which it was decorated.
It is a moot question whether the Etruscans were
Characteristics entirely devoid of originality and were imitators of the
of Etruscan Greeks in everything, or, while endowed with some artistic
bronzes. genius of their own, were yet susceptible to external
influences. Literary evidence can be cited to show that
they were held in great estimation in antiquity as bronze-workers, as for
instance two passages quoted by Athenaeus :
i. 28 B : Tvpcnjvr) 8e Kparel ^pvaoTviros cpuiXri
Kal 7ra9 ^aX/co9 oris Kocr/ubel 86/jlov ev tivl %peiq.
xv. 700 C : A. ti'<? roiv Xv^velwv 7) 'pyacrLa ; B. Tvppr)vi/cij.
Trouc'Ckai yap -qaav al irapa tois Tvpprjvol? ipyacrlai, cpiXoTexywv ovrcov tosv 'Yvpprjvoyv.
At the same time both passages rather suggest that this reputation was confined
to household furniture and objects in daily use ; on the other hand, we have a
statement of Pliny's (//. N. xxxiv. 33) relating to the subject : signa 1 uscanica
per terras dispersa quin in Etruria factitata sint lion est dubium. Our
museums afford ample evidence that the Etruscans excelled in the production
of ornamental vases, candelabra, or tripods, and that they made the art of
Dc Ridder in Bull. i/<- Coir. Hell. xx. (1896), pi. I, p. 401 tt. ; Moil. .Int. da Lined, vii. p. 277 It'.
INTRODUCTION. xllX
engraving on bronze in their cistae and mirrors peculiarly their own. The
evidence for the importation of Etruscan bronzes into Greece is slight, but it
was undoubtedly carried on, and a well-authenticated instance is the mirror
published in the Monuments Grecs, 1873, pi. 3. As a rule the statuettes found
in Etruria do not display much individual style or originality of conception ;
but there are exceptions, such as the Falterona bronzes (Nos. 450, 463) and
others, which have a strong individuality of their own, if marred by local
mannerisms. Otherwise the best seem to be direct copies of Greek bronzes.*
The earliest Etruscan decorative motives and mythological types are in the
main Oriental ; the next stage is that of the %6ava or primitive sculpture in the
round, illustrated by the tufa figure from the Polledrara tomb, or by Nos. 440,
441, 496 ; thirdly, parallel to the development of Greek sculpture, figures of the
type of the Apollo of Tenea, such as No. 510. With the latter class may be
ranked the peculiar elongated figures of warriors (Nos. 442-446), the proportions
of which are probably due to an expedient for making ex-voto figures of con-
siderable size at small cost. The technique of the bust No. 434 seems to suggest
that pieces of worked bronze were imported into Etruria and used up by native
workmen ; but if we reflect on the difficulty which the Assyrians had in pro-
ducing sculptures in the round, in spite of their long experience of relief-work,
we may well believe that the same was the case in Etruria. A parallel example
is the archaic sarcophagus from Caere {Terracotta Sarcophagi in Brit. Mns.
pis. 9-1 1), where well-executed reliefs are combined with inferior work in the
round. The rudeness and rigidity of the bronze bust display an elementary
technique, contrasting with the fine execution and command of tools shown in
the more Hellenic bands of relief below.
A curious parallel to the failure of the Etruscans in sculpture is given by
their total failure in the art of vase-painting, not indeed due to a lack of ability
to draw, as their mirrors and cistae show, but the more inexplicable, because in
this branch of art they do not even seem to have had the same capacity for
imitation as in sculpture. Another point to be noticed is the almost entire
absence of sculpture in stone, except for the figures on the sepulchral urns and
a few isolated statues. All their best work is in bronze. Poorly and incorrectly
modelled as these bronze statuettes are, they often have fine details of hair or
patterns on dresses, and some reach the height of refinement and elaboration in
this respect (e.g. Nos. 509, 533). Quintilian (xii. 10, 1-7) alludes to the differences
between Greek and Etruscan statuettes : " nee solum specie ut signum signo sed
genere ipso ut Graecis Tuscanicae statuae . . . duriora et Tuscanicis proxima
Callon atque Hegesias."
The use to which these bronzes were put appears to have been generally
accidental. They were turned out by the workman without his having any
definite purpose for each article, and some were fitted to candelabra, others
* As instances may be named Nos. 514, 5 1 5, 555, 603 ; cf. also the head No. 3212, which is Greek
in feeling and style.
d
1 CATALOGUE OF BRONZES.
bought up for shrines or for votive offerings, and so on, according to chance.
The collections of bronze statuettes found in the Lake of Falterona (see Nos. 450,
459, 463, 614-616, and 679) and at San Mariano were no doubt all ex voto, as
the circumstances of their finding seem to shew.
With regard to their subjects, the Etruscan statuettes seem to fall into three
groups, which we may roughly apportion as follows :
1. Mythological types : among which the principal are : (a) Apollo (see
Reinach, Repertoire de la Statuaire Gr. et Rom. ii. pp. 78-91) ; (J?) Aphrodite
(generally in the " Spes " attitude, holding up her drapery in 1, hand) ; (r) Mars
or a warrior, a type which appears to be derived from Greece (cf. the warrior
from Laconia published in Ath. Mittheil. iii. (1878), pi. 1, fig. 2).
2. Votive figures of no mythological character : children, athletes, suppliant
figures (as PI. XIV.), etc.
3. Decorative bronzes and genre subjects : dancers, acrobats, monsters, and
animals. These often form the supports of mirrors, handles of cistae, or parts
of candelabra.
The luxury of the Etruscans in regard to vessels and
Decorative bronze- household furniture was, as we have already pointed out,
' proverbial in antiquity. This has been amply confirmed by
bra, mirrors, and , ,. • u- u u • u j 1 u r
. t modern discoveries, which have yielded large numbers of
bronze objects covering a period of about four centuries,
from 600 to 200 B.C. The ornamental decoration generally takes the form of
relief-work and applique ornament, as applied to vases, cistae, or mirror-cases.
The types and decoration of tripods we have already discussed ; but the
candelabra present certain features of interest. The various types may be
roughly dated. The earliest examples (of the 6th century B.C.) have cross-bars
at intervals, each ending in two small branches.* In the fifth century the stem
has a small basin on the top for the lamp, and is supported by a tripod formed
of three human or animal's feet. The stem is often ornamented with animals
climbing up it. In the fourth-century types the feet are as before, but the stem
ends in four branches terminating in buds and a central figure or group of two
figures. Finally in the third century the base takes the form of a pyramidal
pedestal with a moulded stem surmounted by a bowl. The examples in the
British Museum (589-599, 667-669, 771-781) are mostly of the second and
third types.
The bronze mirrors which have been found in such numbers in Etruscan
tombs fall into two main classes. By far the larger is that of the simple disc
with a handle, bearing incised designs. The other class, in which the mirror
is placed in a case with a cover, the latter being decorated with an emblema or
relief, belongs exclusively to the later period of Etruscan art (third century B.C.),
and is obviously an imitation of the Greek mirror-cases with reliefs. The
subjects on these mirror-cases form a close parallel with those on the Italian
* Cf. Milani, Musco topogr. delPJBtruria, p. 27.
INTRODUCTION. li
vases of the same period, especially the bowls with interior reliefs (compare for
instance Nos. 729, 730, with G 129 in the Fourth Vase Room).
The mirrors with incised designs also have their Hellenic prototypes, but
these are to be sought, not so much in bronze works, for Greek engraving on
bronze is, as we have seen, practically non-existent, but in the red-figured vases
which were imported into Etruria in such enormous quantities during the fifth
century. The Etruscan artists apparently shrank from the task so successfully
achieved by Greek painters of suitably decorating the curved surfaces of a vase,
for which their powers of drawing might have fitted them, and devoted them-
selves instead to adorning the flat even surfaces supplied by the mirror-discs and
the sides of their cistae. In the subjects depicted on the vases they had an
extensive mythological repertory ready to their hand. Moreover, the interior
designs of the kylikes, the treatment of which had been perfected by Epictetos,
Euphronios, and their contemporaries, served as obvious models for disposing a
design in a circular space. Some of these mirrors, which go back to the archaic
period, provoke an even closer comparison with the Greek vase-designs : compare
for instance PI. XVIII. with the Peithinos vase in Berlin (No. 2279), or No. 544
with the Geryon vase of Euphronios (Klein, Eup/ironios2, p. 54).
The majority of these mirrors belong to the fourth and third centuries B.C.
Among these a distinction can be drawn between productions of the best period
of Etruscan art, when the conceptions were carefully thought out and thoroughly
Hellenic in spirit, the drawing refined and masterly, and those of the decadence,
where, as in the contemporary vases of Apulia and Campania, the drawing is
free and careless, and the subjects are for the most part monotonous repetitions of
certain types. In No. 627 we possess one of the very finest of existing examples,
representing the meeting of Menelaos and Helen after the taking of Troy ; this
is only rivalled by the Berlin mirror with Dionysos and Semele (Gerhard, Etr.
Spiegel, pi. 83), and another in the Cabinet des Medailles at Paris representing
the apotheosis of Heracles (Gerhard, op. cit. pi. 181).
The subjects are almost entirely drawn from Greek mythology, especially
in the best period. The Trojan legends are the most popular (see Nos. 623-627,
712-715), and many subjects occur which are familiar on vase-paintings, such as
the Birth of Athene (Nos. 617, 696), the labours of Heracles (Pis. xvn, XIX.), or
the story of Perseus (No. 620). Numerous mirrors represent deities wearing
Phrygian caps, which are traditionally interpreted as the Cabeiri, and one fine
specimen in the Museum (No. 618; is supposed to represent the birth of these
Cabeiri, though the names attached to them have no meaning for us. Among
the Etruscan deities which appear on the mirrors, the Lasse or Fates occur most
frequently, represented as winged women. Winged deities, indeed, are universal
conceptions in Etruscan art, and do not always admit of exact identification ;
even Athene and Aphrodite are sometimes provided with wings (as Nos. 543,
544.). Occasionally a subject is supplied from early Roman legend, as on the
mirror with Cacus and the Vibcnnas (No. 633), or another with Romulus and
Remus suckled by the wolf {Man. dell" lust. xi. pi. 3) ; on the latter, as on some
d 2
lil CATALOGUE OF BRONZES.
other examples (such as No. 695), the inscriptions are actually in Latin. One
noteworthy feature of the mirrors with Greek subjects is that the most incon-
gruous figures appear together, as, for instance, No. 622 with Ajax and
Amphiaraos, or No. 719, on which Ajax, Alcmena, Thetis, and a Seilenos are all
united in one scene. This is due either to confused ideas or to carelessness on
the part of the artist, who has selected certain types from his stock and combined
them at haphazard.
The inscriptions which Etruscan mirrors generally bear form a very important
feature. This idea again was no doubt suggested by the vases. But, curiously
enough, the Etruscans, while adopting the Greek myths and legends wholesale,
have transformed the names of the deities and persons represented into their own
language and alphabet. So, for instance, Athene appears as Menerfa, Aphrodite
as Turan, Hermes as Turms, Dionysos as Phuphluns ; while the names of heroes
are only a degree less transformed : Achle for Achilles, Elchsentre for Alexandras
(Paris), Evticle and Plvilnike for Eteocles and Polyneikes. On one mirror
(Mo. 695) a corrupt Latin form occurs in Melerpanta for Bellerophon ; and
another (No. 3213) has interesting inscriptions in Latin.
The handles of these mirrors in many cases have been broken off or lost ;
one example (No. 620) retains an original handle of bone, into which the mirror
is inserted by a spiked termination of bronze ; others, again, terminate in the
head of a stag, horse, or other animal, or even in the figure of a man (as No. 711).
This latter type is derived from another class of mirrors, of which examples are
known both from Greece (as Plate IV.)* and Etruria (Nos. 547-553). The
mirror itself is devoid of all decoration except a bead-moulding round the edge,
and the artist has devoted his chief energies to the standing figure that supports
it. These figures form a continuous series from the early archaic period to the
limits of the free and fine styles, the richest period being that of the transition
at the beginning of the fifth century. Almost every figure has an individuality
of its own, though there are certain main types, of which the most popular is the
Aphrodite attended by Erotes of Plate IV. Originally these mirror-supports appear
to have been derived from Egypt ; f it was probably through the Ionic Greeks of
Naucratis that the idea of a nude female figure architecturally applied in this
manner was brought from Egypt, and this type, at first exclusively Ionic, was
also adopted in the Peloponnese. The original idea was simply that of a figure
supporting the mirror with its arms, but in its developed form the figure with its
base becomes an architectural support for the entablature-like member on which
the mirror rests. %
Of no less interest and artistic merit than the mirrors, though of much rarer
occurrence, are the cistae, found almost exclusively at Praeneste. While the
* See above, p. xlii.
t A late and Hellenizing instance of an Egyptian mirror supported by a nude female figure
is No. 88o.
X Monuments Grecs, 1891-1892, Ncs. 19, 20; Berliner Phil. Wochenschr. 1894, p. 79; De Ridder,
Brotizcs de la Soc. Arch. cTAthenes, p. 36.
INTRODUCTION.
liii
number of mirrors now known cannot be far short of one thousand, only about
eighty cistae have been found, and only a small proportion of these have
decoration of any consequence. The designs are often of unequal merit, but
the majority appear to belong to the third century B.C. The most beautiful
existing example is the famous Ficoroni cista in the Kircherian Museum at
Rome, which bears on its lid a Latin inscription dating about 200 B.C. One
of the Museum specimens, however (No. 554), must go back to a considerably
earlier period, owing to the very archaic character of its design, which consists
of a frieze of Gorgons in relief. Among the examples with incised designs in
the Museum (Nos. 637-641 and 741-746), unquestionably the finest is No. 638
(PL XXXI.), a worthy rival of the Ficoroni cista. The subject represented is the
sacrifice of Trojan prisoners at the pyre of Patroclos ; most of the other cistae
are also decorated with Trojan legends, as, for instance, No. 743 with the sacrifice
of Polyxena, No. 745 with the Judgment of Paris, and No. 746 with Achilles
and Penthesileia.
Three distinct processes appear to have been necessary in the production of
these cistae. In the first place, the bronze plates were cut into squares, and
received their engraved decoration ; the plates were then clipped and bent to a
cylindrical form, the edges soldered and the bottom and cover attached ; and
finally the handles, feet, and a row of rings, with chains suspended from them,
were put on, in some cases partially obscuring the incised designs. Certain
types appear to have found preference for the ornamentation of the handles and
feet ; for the former, a group of two men fighting, or of Peleus wrestling with
Atalanta, two warriors carrying a dead body, or even a single figure, such as
Hermes. The feet are invariably in the form of lions' claws, with a figure of
Eros or a Satyr in relief at the point of attachment to the body. Several
detached bronze figures in the Museum collection afford evidence of having once
formed the handles of cistae, such as Nos. 555, 556, 642, 643, 645, 748 ; others
which have formed the feet of cistae are Nos. 644, 646-649, 749-752.
V. GAULISH AND GRAECO-ROMAN BRONZES.
The next section of the catalogue (Nos. 786-824) is
Gaulish bronzes, devoted to the bronzes found in Gaul, which appear to be for
the most part of local origin, and of which some are of
exceptional interest
Caesar, at the time of his conquest of Gaul, found there
Art in Gaul and no traces of native art, which was in fact forbidden by the
its influences. religion of the people.* At the same time, the Gauls appear
to have been possessed of great technical skill and industry,
like the other nations of Northern Europe. We have quoted above (p. xxxvi.) a
* His allusions to the Mercurii simulacra {Bell. Gall. vi. 17) appear to be inaccurate; see Bertrand,
Religion des Gaulois, p. 319.
liv CATALOGUE OF BRONZES.
passage from Philostratus, which refers to them the practice of enamelling on
bronze, and this is further attested by Pliny (H. N. xxxiv. 162), who says:
"Album [plumbum] incoquitur aereis operibus Galliarum invento ita ut vix
discerni possit ab argento, eaque incoctilia appellant. Deinde et argentum
incoquere simili modo coepere equorum maxume ornamentis iumentorumque ac
iugorum Alesia oppido ; reliqua gloria Biturigum fuit." Many specimens of
bronze vases, fibulae, and other objects have been found with rich but somewhat
crude enamelled decoration. The chief characteristics of this art are a tendency
to geometrical decoration, and a preference for symmetry rather than living
forms ; a fondness for bright colours and for open relief work ; and finally a
tendency to conventionalise human and animal forms into decorative motives.
The latter characteristics are manifested in the series of zoomorphic fibulae,
largely found in Belgium, but not confined to any part of Central Europe ;
they also find illustration in the civilisation known as that of La Tene (a settle-
ment on Lake Neuchatel).
It is a well-known fact that many genuine Greek works (or close copies of
the same) have been found on Gallic soil, such as the Vaison Diadumenos, in
the British Museum, the Venus of Aries, and the warrior of Autun, to say
nothing of the bronze Hermes (PI. xxiv.),and other small works of true Hellenic
character. Their presence in Gaul was of course due to accidental transportation,
and they have nothing in common with the art of the country. On the other
hand, many types which were spread by the Romans all over the ancient world
became, as it were, common property, only modified by local conditions and
taste. Such are the bronzes with which we have here to deal. Either they are
Hellenic types, as Nos. 786, 792-795, shewing by certain alterations or barbarisms
that local influence has been at work, or else the conceptions are native, such as
the Dispater, No. 788, or the Ares (PI. XXIII.), but certain small details {e.g. the
helmet of Ares) indicate that the native artist has gone to some Greek original
for assistance in the production of his work, or has reproduced some reminiscence
of what he has seen.
It may be that the influence of Greece upon Gaul dates from an even
earlier period than the Roman conquest.. As early as the sixth century B.C. the
Phocaeans had established a Greek colony at Massilia, which was then, as it now
is, the outlet for the commerce of the Rhone valley. Greek merchants in search
of copper and tin must have penetrated as far as Spain and even Britain ; while
even Central Europe has yielded objects of archaic Greek work, such as the gold
treasure of Vettersfelde, to say nothing of the helmet of Berru which is
ornamented with a Mycenaean pattern. Again, the incursions of the Gauls into
Greece in 279 B.C. and the sack of Delphi must have brought before their eyes
Greek art of the finest period, specimens of which they may actually have carried
away with them.
For the most part, however, artistic influence reached Gaul in another way.
About the first century of the empire Graeco-Egyptian art was dominating
Italy, as is evidenced by the column of Trajan and the general style of the
INTRODUCTION. lv
Pompeian remains. The influence of Italy and the constant commerce between
Alexandria and Marseilles would naturaljy foster this tendency in Gaul. Pliny
(U.N. xxxiv. 45) speaks of Zenodorus of Alexandria, who made a Mercury for the
Arverni, and imitations of cups by Calamis, which were specimens of the chased
work in silver so popular at Alexandria. The mosaic of Lillebonne (Gazette
Archiol. 1885, pis. 13, 14) is the work of a Carthaginian and a native of Pozzuoli,
but is altogether Egyptian in inspiration. Among the Gallo-Roman bronzes
Alexandrine motives are constantly to be found, such as figures of negroes ; or
the type of Aphrodite Anadyomene, which is found not only in the Fayum and
on the coast of Syria, but in the white terra-cottas of Gaul. Still more strongly
is this connection manifested in the religious cults. Coins of Postumus issued
in Gaul which illustrate the cult of Serapis, may indeed be purely Roman, but
one of the commonest types of Gaulish divinities, the Dispater, is taken directly
from that god. In the same way the Dea Mater becomes the representative of
Isis, and another type, that of the crouching god, is derived from Imhotep.
In the Gaulish cult-system * by far the most interesting figure is that of
Dispater, the Gaulish Jupiter, who is characterised as an infernal deity by the
wearing of the modius or polos. He generally holds an olla in one hand, and
the type of his head roughly corresponds with the Greek Zeus ; but in some
museums there exist some very remarkable varieties of the type, in which the
figure is accompanied by a barrel surrounded by a series of hammers.f This
type is confined to Southern Gaul, and presents striking analogies to the Syrian
Jupiter Dolichenus ; we may also find points of comparison with the Scandinavian
Thor, the Etruscan Charun, and the Carian Zeus Labrandeus. Caesar (Bell.
Gall. vi. 18) refers to Dispater as the common father of the Gallic peoples.
Another favourite deity of the Gauls was Heracles. He was their nearest
conception of the Supreme Deity, and was known by them as Ogmios, as we
learn from Lucian (Hercules, 1) : Top 'WpaKkia 01 KcXtoi "Oyfiiov 610/j.d^ovac
<f)cc>i>f} rrj eWyw/Hft). He was conceived, according to Lucian's description, as an
old man, bald, wrinkled, and sunburnt, with the usual attributes of Heracles.
This type as represented in art seems to approximate to that of Dispater ; but
other examples of more Hellenic conceptions exist, such as No. 787, or the
fine archaistic Heracles from Cumberland in the Romano-British Room.
Among the other bronzes from Gaul in this collection may be noted the
Zeus with head of Otricoli type (PI. XXVII.), the Dionysos (PI. XXII.), which seems
to be an echo of the style of Praxiteles, and three figures of Aphrodite (793-795)
of the type known as Venus Pudica, all of which suggest a Hellenic origin.
Otherwise interesting are No. 822, representing a barbarian warrior in the
national costume, and a series of figures of Gauls (Nos. 814-819), which recall
the description of the figures of the monument set up by Attalus on the
Acropolis of Athens, and also their imitations now existing in Naples.
* On the religion of Gaul generally see Bertrand, Re'igion des Caulois, especially chs. xxii., xxiii.
t Reinach, Musee de St. Germain-en-Laye, p. 175 ft". ; Murray, Gretk Bronzes, p. 97 ; Bertrand,
op. cit. p. 318.
lvi CATALOGUE OF BRONZES.
We have now to deal with Greek art in Rome and Italy
Graeco-Roman from the middle of the second century B.C. down to the times
bronzes. of the Empire. It is a truism that of Roman art, properly
speaking, little exists ; all the productions of this period are
by Greek artists with Greek names, or at least by Romans who have learnt the
whole alphabet of their art from Greek teachers and Greek models. Roman
art seems to have found its outlet in a direction as yet little pursued by the
Greeks, namely in portraiture. In this branch indeed it may claim to have
attained to individuality and even excellence.
Previously to the second century B.C., Rome had been indebted to Etruria
in the same way as to Greece, as instanced by the decoration of the temple of
Capitoline Jupiter and such works of art as the wolf of the Capitol. Many of
the bronzes described in this section undoubtedly belong to the Roman period,
but are by Hellenic artists, and can only be classed as Graeco-Roman. They
fall more naturally into a classification by subject, and therefore, while a selection
has been made of statuettes of special merit (825-855), or objects which do not
admit of such arrangement, e.g. reliefs, vases, and miscellaneous objects (856-
884), or objects with Latin inscriptions (885-908), the majority are relegated to
subject-headings under Nos. 909-1928. These statuettes are, as a rule, devoid
of artistic merit, and only of mythological or typological interest, except where
a relation can be traced to some known Greek statue, either as the prototype
of a class (e.g. the Venus Pudica series, 1097-UC9) or of one particular instance,
such as Nos. 960, 961, 1037, 1292, 1388, etc.
Some of the select objects have a special historical interest, such as the so-
called sword of Tiberius (No. 867), the inscription relating to the Mystae (887),
or the series of portrait-busts (831-846) ; or are interesting in relation to Roman
worship, such as the inscriptions to Mithras (904) and Jupiter Penninus (895), and
the pantheistic and symbolical objects (829, 873-876). Of the inscriptions,
Nos. 888 and 889 have a special palaeographical interest.
Allusion has just been made to the influence of Graeco-
Egyptian and Egyptian art upon Italy at this period. This is due in the
Asiatic in- first place to the growing popularity at Rome of certain
fluenees. Egyptian cults, and secondly, to the fact that Greek art
found its way to Italy, as to Gaul, through the medium of
Alexandria, the centre of Greek art and civilisation generally in the third and
second centuries BC. Several of the bronzes now under discussion (Nos. 828,
836, 853, 880, etc.) were found in Egypt, and others, more especially the figures
of Serapis (939-946), Isis (1456-1472), and Harpocrates (1473-1508), shew
clearly the hold that the new Egyptian cults bad upon the art of the period.
The origin of these cults * is to be sought in the tendency, which arose in
the fifth century, to identify the Egyptian triad, Osiris, Isis, and Horus, with
* See generally I .a Faye, Culte des Divinizes <T Aiexandrie ; for Serapis, Michael's in fount. Hell.
Stud. vi. p. aSgff., and Poole, Brit. Mus. Cat. of Coins of Alexandria, p. Ix. ft".
INTRODUCTION. lvii
Dionysos, Demeter and Apollo.* Under the influences of Orphism the Greeks
had taken up the study of Egyptian religions, and Hellanicos of Lesbos in the
same century discusses these questions in his AlyvTrTia/cd in this spirit.! In
B.C. 350 a sanctuary of Isis was actually erected at the Peiraeus, and this gave
rise to Athenian legislation about strange cults. Then a new impetus was given
to their study by the foundation of Alexandria and the works of Manetho,
Timotheus the Eumolpid and others. A definite Alexandrine triad came into
being, consisting of Serapis, Isis, and Harpocrates, the first-named being a com-
pound of Apis and Osiris ; the name is a Hellenised form of Osor-Hapi. This
tendency to syncretism in religion was due to the notion that a triad was the
distinguishing feature of both Greek and Egyptian religions, and that these
triads were necessarily identical. It received warm support from the Ptolemies,
and the third century saw a great extension of the cults in Egypt, a Serapeum
being founded at Memphis.
The first relations of Egypt with Italy date from the embassy of Ptolemy
Philadelphus to Rome in 273 B.C., which opened the door to Hellenistic
institutions and manners. The Alexandrine cults found a footing by degrees
in Southern Italy, and in the second century an Iseum was in existence at
Pompeii, and a temple of Serapis at Puteoli4 Under Sulla an Isiac college
was founded in Rome, and a few years later honours were paid to Serapis and
Isis on the Capitol. The triumvirs erected temples to them in B.C. 43, and the
cult appears to have appealed strongly to the Roman plebs. Under Augustus
there was a reaction, and the votaries of these deities were banished and
persecuted, but they were indulged by Caligula and Claudius and welcomed by
Nero. The cults were officially recognised by the Flavian Emperors, and
reached their apogee under Antoninus Pius and Septimius Severus.
With the exception of the Paramythia bronzes (No. 276, and perhaps the
Dione, No. 279), and similar figures, no very early types of these deities in art
can be traced. Under the Empire there seems to have been a reaction to the
ancient Egyptian types, the result of a study of Egyptology by Romans,§ and
figures of Emperors and Imperial ladies in Egyptian dress begin to appear (cf.
Nos. 1467, 1470, 1494). Harpocrates is to be regarded as a combination of the
infant Horus, with finger placed in childish fashion on his mouth, and the Greek
Eros with his childish form and wings. The treatment of the hair is common
to the figures both of Eros and Harpocrates, and some of the figures cannot be
easily differentiated. Those of Harpocrates are mostly very diminutive, and
were doubtless used as amulets.
Egypt was not the only part of the world from which extraneous religious
influences found their way to Rome, amid the cosmopolitan ideas which her
extending empire fostered ; all religions were welcomed at Rome, and new cults
* Herodotus (ii. 42, 59, 144, 156) alludes to this identification in unmistakable terms.
t Cf. Hist. G>: Frag. ed. Didot, i. p. xxiii. ff., and p. 66.
\ Nissen, Pompeianische Studien, p. 174; C.I.L. i. 577 ; see La Faye, op. cit. p. 40.
§ We may recall the journey of Germanicus to Egypt cognosceitdac antiquitatis (Tac. Ann. ii. 59),
lvili CATALOGUE OF BRONZES.
became fashionable according to the taste of Emperor and people. Most of
these new systems came from Asia Minor and especially from Phrygia, where
the wild orgiastic rites of the Great Mother and Attis prevailed. Kybele is of
course a not uncommon figure in Greek or Roman art, and as early as the
time of the Second Punic War the Megalesia, a feast in her honour, were estab-
lished in Rome. Catullus has made us familiar with Attis and his story, and
he too was included in the festival of the Great Mother of Pessinus.* A more
popular festival was that of the Mithras mysteries, of Persian origin, Mithras
being, like most of the Oriental male deities, a sun-god or god of light. It was
introduced into Rome about the time of Hadrian, and flourished for several
centuries, spreading all over the empire. A large number of Mithras monu-
ments exist (collected by Cumont, Les Mysteres de Mithras), mostly in the form
of a figure in a Phrygian cap sacrificing a bull (see No. 1017). The meaning of
this sacrifice has not hitherto been explained, unless it denotes the triumph of
light over earth and darkness. Mithras is often known as Sol Invictus (cf. the
inscription No. 904). A kindred conception is that of Deus Lunus, the male
Moon-god, who may be represented in No. 1016, chiefly worshipped in Mesopo-
tamia, and under the name of Men in Phrygia (Bull, de Ccrr. Hell. xx. p. 55 ff).
The Roman fondness for personifications of natural objects and abstract
ideas is well known, and can be amply illustrated from the statuettes in this
collection. Some of these personifications represent natural phenomena, such
as months or seasons (Autumn, Nos. 1514-1519; Spring (?), No. 1520; Winter,
Nos. 1 52 1, 1522, and No. 813). Countries are represented by the Africa,
No. 1524. But the majority are personifications of abstract ideas, to be identified
by attitudes or attributes, such as Providentia (No. 986), Spes (No. 1547),
Fortune (Nos. 1 525-1 543) ; or are derived from Greek types, such as Somnus
(No. 1509), or Victory (Nos. 1548-1561). Purely Roman mythology is repre-
sented by agricultural deities such as Vertumnus (Nos. 15 10-15 12), Pomona
(No. 1 5 13), and Silvanus (PI. XXX.). Other figures which represent exclusively
Roman ideas are the Lares (Nos. 1 562-1 580), and the series of orators, officials,
and sacrificing figures (Nos. 1 583-1 587). The myth of Romulus and Remus
occurs in three examples: the sistrum No. 872, and Nos. 1 58 1 , 1582. The
figures of Greek deities and heroes, and the series of miscellaneous figures and
animals do not call for further comment here ; as regards the former, a strict
classification of types has been made when possible in the Catalogue.
VI. PERSONAL ORNAMENTS AND IMPLEMENTS.
The personal ornaments, implements, and smaller objects generally, which
are described in this Catalogue, belong for the most part to the Graeco-Roman
period. In mcst cases, even an approximate dating is impossible, unless the
* Preller -Jordan, Rom. Mythol.* ii. p. 387. See for Attis the article in Roscher's Lexicon ; the
figures of dancing youths in Eastern co.tume (Nos. 1020-1022) are generally taken to be representations of
this deity ; see also Baumeister, Denkmaeler, i. p. 225.
INTRODUCTION.
lix
circumstances of finding happen to be known, or evidence can be derived (as in
the case of the fibulae) from a chronological development of types. Many of
the smaller objects of a primitive character from Greece and Italy can be dated
in this way, and have accordingly been included in the earlier part of the
Catalogue, as for instance the Cypriote weapons, the Geometrical fibulae, and
the early Italian objects. But on the whole a detailed classification of these
smaller objects under a separate heading has been found more satisfactory.
In the whole series perhaps no group is more interesting
1. Fibulae. than that of the fibulae, which have received more attention
and scientific study from scholars than most products of
bronze, with the result that a satisfactory system of classification has been
attained,* and that their development can be traced, with approximate dates,
from the earliest civilisation of the Bronze Age down to the latest Roman times,
and indeed even later, in Merovingian, Anglo-Saxon, and Scandinavian examples.
The Museum collection is fairly representative of all classes from the fiat "safety-
pin " type of the Bronze Age and the spirals of Hallstatt down to the late
zoomorphic fibulae and enamelled open-work brooches.
Among the objects discovered at Enkomi in Cyprus in 1896 were several
gold pins with ornamental heads, having the centre of the stem widened and
pierced with a hole. Pins of this type appear to have been the prototype of the
fibula ; and it is remarkable that one or two figures on the Francois vase f
appear to have their chitons fastened on the shoulder by means of similar pins,
although of course this vase is not earlier in date than 600 B.C. The hole was
intended for the insertion of a piece of wire, which was twisted round the
drapery and held it in place. The transition from this to the safety-pin type,
consisting of pin and bow ending in a hook to catch the end of the pin, can
easily be understood. Similar pins with holes have been found in Northern and
Central Europe.
In the tombs of the Mycenaean period the fibula is practically non-
existent, except in a few cases where it has appeared in the late tombs of
Cyprus (see Nos. 57, 59, 60). These are of the plain safety-pin form, which has
also been found among the more advanced remains of the Terramare civilisation
(see above, p. xliv.)4 Two more have been found in the lower city of Mycenae,
of similar shape, but on the acropolis of Mycenae and at Hissarlik they have not
been found, and generally speaking their appearance among Aryan civilisations
is contemporaneous with that of the Iron Age.
The simple type of Greek fibula is semi-circular, with a spiral at the head, and
* The most complete system is that of Tischler {Bcitr. zur Anthrop. u. Urgesch. Bayer ns, iv. iSSi,
p. 47 ft".)> which has been in the main adopted here; see dXsoJahrb. d. Vereins von Altcrtumsfr. im
Kheinl. lxiv. p. 80 ft". ; Rei ach in Daremberg and Saglio, Diet, des Antiqs., art. Fibula ; Montelius,
Spannen fran Bronsaldern (Autiquarisk Tidskrift for Sverige, vol. vi.) ; and for early Greek fibulae,
Undset in Zeiischr. fur Ethnol. 1889, p. 205 ft".
t Studniczka, Bcitr. zur Gesch. d. altgr. Traeht, p. 98.
% Zeitsekr. fur Ethnol. 1889, p. 205.
lx CATALOGUE OF BRONZES.
a small bent-up foot to hold the pin. One of these was found at Mycenae with
those mentioned above. In the early Greek cemeteries of Rhodes several
variations of this type occur (see Nos. 151, 154, 155, 157). In Nos. 150, 152,
153, and 156 the foot has become enlarged into a flat oblong plate, often
decorated with geometrical patterns and animals, incised. In Cyprus the earliest
fibulae are developed from the safety-pin type, and assume an elliptical form,
with two slight projections on the bow (see Nos. 57, 1946, 1947) ; this form is
commonly found in tombs dating from 700 to 500 B.C. A more peculiarly
Cypriote type is represented by Nos. 1 948-1 954 ; here the bow takes a triangular
form, with a bulbous knob at the apex ; each arm of the bow is ringed at
intervals, and has a flat oblong piece attached by the middle ; the sheath-like
foot tapers to a point. These fibulae are found in the " Graeco-Phoenician "
tombs of the sixth and fifth centuries at Amathus, Curium, and elsewhere (see
My res, Cyprus Mus. Cat. Nos. 4840-4842).
Greek fibulae of the Geometrical period are also found at Olympia, Athens,
and Thebes, and more rarely in other parts of Greece.* Their connection with
contemporaneous pottery has already been pointed out (p. xxxix.) ; the foot is
developed from such examples as No. 153 to a large square plate like a sail, as
occurs in Nos. 119-121, and in some cases, as No. 119, the bow is broken up
into three convex discs with hollow under-surface. No. 3197 is a quite abnormal
form, the bow and foot having coalesced and preserved the curved outline of the
former and the flat vertical surface of the latter. Simpler and smaller examples
of the type of No. 119 are seen in Nos. 1955— 1957-
Fibulae formed of two spiral plates united by a figure-of-eight twist, with a
pin and catch on the under side, appear to be a Greek invention, many having
been found in Greece, but they are more usually associated with the necropolis
of Hallstatt in Austria, where they were found in large numbers and varying
forms ; hence this is called the Hallstatt-type. The art of the objects found in
these tombs compares with that of the Villanova civilisation, and they may be
attributed to about the fifth and sixth centuries B.C. They however lie apart
from the continuous development of the ordinary fibula. The examples in this
collection (Nos. 1929-1941) come from Southern Italy, where the type was no
doubt introduced from Greece.
The development of the simple semi-circular type, not only in Greece but
also in Italy, is illustrated by three distinct varieties, known as the " boat,"
"leech," and "kite" types. The boat-type (1958— 1977) has a bow much swollen
in the centre and tapering towards the head and foot, sometimes hollowed out
underneath. Several specimens of this class (1960-1962, 1968) have the bow-
marked with grooves and incised lines which appear to represent the body of an
insect ; and it has been ingeniously suggested | that they may be intended for
models of reTTcyes or cicadae, such as were used for fastening up the hair by the
* Zeilschr. fur Ethnol. 1889, p. 221 ff. ; and see above, p. xxxix.
t Studniczka in Jahrbuch, xi. (1896), p. 281 ff.
INTRODUCTION. lxi
Athenians of the sixth century B.C. (Thuc. i. 6). The leech-type (1992-2000) is
a slighter variation of the semicircular bow ; it is generally ringed with fine lines,
and is often short and slightly curved, so as to resemble a leech. The kite-type
(1978-1991) is derived from the boat ; it is produced by a flattening of the bow,
and by a drawing out of the edges in the middle to form points, which are often
adorned by knobs. More minute variations of these three types are indicated
in detail in the Catalogue.
A type of fibula which is unknown in Greece, but is very common in Italy,
is one which preserves the plain semicircular bow, but the foot is twisted up to
form two loops between which the pin passes, and then ends in a circular or oval
flat piece of metal (cf. Nos. 2008-2020). This is sometimes in the form of a
leaf, sometimes twisted into a spiral form, and is often engraved with swastikas,
chevrons, and other incised patterns. This type merges into the snake-type
(see Nos. 2025-2029), a very common Italian variety, also found at Olympia
(Furtwaengler, Olympia, iv. pi. 21, Nos. 353-358). Sometimes the flat tail-piece
is preserved, but more usually the foot ends in a long sheath ; the bow derives
its name from its twisted and sinuous form. The varieties of this type are
exceedingly numerous ; one familiar one is the " horned-snake " type (as No. 2038),
two pieces ending in knobs being attached to the bow, one on either side near
the head.
Such are the principal varieties of fibula found in Greece and Italy during
the earlier classical period ; they extend over several centuries, from the seventh
down to the rise of the Roman dominion in the second. One other type should
perhaps be mentioned here, a small fibula with sharply-arched bow and turned-up
foot, which is known as the Certosa-type, from its frequent occurrence in that
cemetery at Bologna, together with black-figured vases, by means of which it
may be dated about 500 B.C. (see Nos. 2054-2059).
The chief distinction between fibulae of the Greek period and those of the
Roman is that the spiral at the head is replaced by a cross-piece on which the
pin works as a hinge. This is a fundamental distinction, and an invariable one.
Many of these types are spread widely over Italy and Central Europe, but others
are more specially characteristic of Graeco-Roman art, and are to be regarded as
more exclusively Roman. Three varieties may be readily distinguished, known
as the La Tene type, the T-shape, and the cross-bow form. The La Tene fibulae
are distinguished by a doubly-curved bow and an elaborate foot often ending
in a knob ; sometimes the bow divides into two pieces, which between them
enclose the foot. The La Tene civilisation, distinguished by the typical forms
of its fibulae and iron swords, and general use of iron in place of bronze, is of
very wide-spread extent, but appears to have had its home in South-East France.
Of the cross-bow form there are two varieties, one with spiral hinge and arched
bow ending in a catch for the pin ; in the other variety (of which Nos. 2000 and
2001 are excellent examples), the bow is arched in a semicircle and terminates
in a long sheathlike foot, into which the pin is inserted, the other end of the pin
working on a hinge. These fibulae are often gilded, or ornamented with elaborate
lxii CATALOGUE OF BRONZES.
patterns. The ordinary type of T-shaped fibula has a long cylindrical head and
wide flat bow, ornamented with grooves or patterns in gilding and enamel ; a
common variety has a large horizontal disc in the centre of the bow, through
which it passes like the clasp of a belt.
The Roman fibulae are either varieties of the above types, or mere safety-
pins in form ; but they are generally ornamented with gilding or knobs or heads
of animals, so that the varieties become too numerous for exact classification.
To this period belong the zoomorphic fibulae so frequently found in Gaul,
Belgium, and elsewhere, which in some cases are ordinary fibulae with bow or
foot in the form of an animal, but more generally brooches, consisting of the
figure of a lion, horse, bird, or fish, with a pin attached to one end passing through
two hooks underneath, exactly in the manner of the modern brooch. The
animals' bodies are often ornamented with spots and other markings in various
coloured enamels.
Roman taste seems to have run more in the direction of elaborate brooches
than of fibulae properly so called, that is, of any modification of the safety-pin
type. The bow completely disappears, and is replaced by a disc or lozenge
with ornamental patterns, or by a rosette or circle of open-work, or, as we have
already seen, by the figure of an animal. Such brooches are often represented
on ancient monuments, holding the drapery in place on the shoulder, or in other
ways. The most frequent method of decorating the brooches of the first and
second classes named was by means of coloured enamels, as is illustrated by
Nos. 2162-2222. Besides the disc and lozenge forms mentioned above, many
elaborate varieties of shape occur, such as Nos. 2173, 2185. The enamel is
usually inlaid in geometrical patterns of circles and squares, or in various small
pieces to fit into the different parts of the brooch. The process employed for
this method of decoration is supposed to have had its origin in Gaul, as has
already been indicated (p. xxxvi.) with reference to a passage in Philostratus.
Many of the examples in this collection come from Gaul or the Rhenish
provinces. This process is similar to cloisonne enamelling, but with this
variation in the brooches, that the pieces of enamel of different colours are
placed in immediate contiguity, and not divided by pieces of bronze, as we
see, for instance, in the Japanese work, which exhibits the highest perfection
of the process. It is, in fact, an adaptation of the method employed in
mosaic work.*
A small class of objects, Nos. 2225-2242, calls for some
2. " Seal-boxes." attention. They consist of small bronze boxes with hinged
lids, and are of various shapes, some circular, some square,
others oval, lozenge-shaped, or bellows-shaped. As a rule they are pierced at
the bottom with three holes, and at the side with two square openings ; the lid
is generally enamelled in patterns or bears a figure in relief. Several examples
occur with heads of Imperial personages of the Flavian epoch (cf. Nos. 2228,
Fontenoy, Les bijoux anciens et mode* lies, p. 345.
INTRODUCTION. lxiii
2229), and it is probable that they all belong to that period. The use of these
objects is quite uncertain ; they have been variously explained as perfume-
boxes and seal-boxes, and one explanation seems to be as satisfactory as
the other.*
Nos. 2246-2312 form a collection of bronze finger-rings,
3. Finger-rings, some with engraved designs on the bezel, some with gem or
paste settings, with or without intaglio designs, and some
with heads or busts attached to the ring. None of these appear to be earlier
in date than the later times of the Empire. This is most naturally accounted
for by the fact recorded by Pliny (H. N. xxxiii. II, 21, 29), that during the
greater part of Roman history finger-rings of iron were regularly worn by the
poorer classes, and under the Republic by all, even the most wealthy. Iron
finger-rings were also worn for official and ceremonial reasons, or given as
betrothal rings (id. xxxiii. 12 : sponsae muneris vice ferreus anidus mittitur).
Pliny complains bitterly of the luxurious tendencies of his days, which had
substituted gold for the less precious metals ; and Martial frequently satirises
would-be smart individuals who made ostentatious display of rings (v. 11,
xi. 47, 59), or wore pastes to pass off as real stones (ii. 57).f In spite of the
large proportion of bronze rings still existing, there appear to be no direct
allusions to them in ancient authors, though there is a passage in the
Thesmophoriazusae of Aristophanes (1. 423) which seems to imply the possibility
of getting a ring and seal made for three obols, presumably in bronze. The
passage is worth quoting in reference to the use of key-rings (of which Nos.
2607, 2608, etc., are examples) and the practice of sealing up doors to protect
property : —
Oi yap avSpes rjBr) /cXetS/a
avrol cpopoucn Kpvirra, Ka/corjdeaTaTa,
AaKG>v'iK arra, rpels zyovTa yo/Acfriovs.
irpb tov p,ei> ovv rjv dW' inrol^ai ti)v Ovpav
7roirjcrafMeuai(Ti Sa/crvXiov Tpia>/36\ov,
vvv 3' ovto<; avTovs (OKorptyjr 'EtvpnriBr)^
iBiha^e dptTn']he(TT e%eiv afypayihia
iffatyafievov?.
Besides being set with pastes to pass for real gems, bronze rings were often gilt
to look like gold ; those too with designs engraved on the metal bezel were no
doubt made for the benefit of those who could not afford the more expensive
material.!
* See Fri.derichs, Kleinere Kunst u. Industrie, p. 137, and for the most recent discussion, Numism.
Chronicle, xvii. (1897), p. 294.
t A ring pleJged for the sum mentoned here (eight nummi) could not have had any real value.
X On ancient rings and their uses generally see King, Antique Gems and Kings, p. 329 ff. ; Krausp,
Pyrgotcles, p. 169 ff. ; Fontenoy, Les bijoux anciens et moderncs, p. 15 ff. ; Daremberg and Saglio, Diet,
des Antiqs. art. Anulus.
lxiv CATALOGUE OF BRONZES.
The subjects represented on these rings are such as occur on all intaglios
of the Graeco-Roman period ; some of the stone settings, especially the pastes,
are quite plain, perhaps from motives of economy in the wearers. Nos. 2260-
2265 illustrate in an interesting manner a passage of Pliny (//. N. xxxiii. 41),
where he speaks of a fashion of wearing figures of Egyptian deities on rings :
" lam vero et Harpocraten statuasque Aegyptiorum numinum in digitis viri
quoque portare incipiunt." Many of the bronze stamps (Nos. 303 1-3 183) having
rings attached at the back, and from their size evidently intended for the insertion
of the finger, were employed for various purposes, such as sealing doors and wine-
jars, and most commonly for signing documents. In the majority of cases the
letters on the stamp are in relief and may have been inked over to produce
the impression, as is done in signing official documents in the East to the
present day, and frequently by ourselves for commercial purposes.
The extensive collection of surgical instruments cata-
4. Surgical instru- logued under Nos. 2313-2373 seems to indicate that the
ments. Greeks and Romans had attained to considerable skill and
technical knowledge in this branch of science. But the
subject is beset with great difficulties for us. Many of these objects can only be
tentatively classed as surgical, and others, such as bodkins, tweezers, and stylus-
like instruments, may have been used for other purposes, or are too ambiguous
in form for their use to be definitely ascertained. There are two courses open
for identifying them, namely, a comparison with the descriptions given by
ancient writers, such as Hippocrates and Celsus, and secondly a comparison with
the instruments in use at the present day. Unfortunately, as regards the former,
we can learn little more than the names of the instruments employed ; descrip-
tions are rarely given. In some cases, however, the resemblance to modern
instruments is unmistakable, and the modern names have accordingly been
given, eg. Nos. 23 18-2321, 2329
Cases of instruments have been found in different parts of Europe, generally
in the form of cylindrical boxes, sometimes divided into compartments. A relief
has been found on the Acropolis of Athens {Bull, de Corr. Hell. i. pi. 9, p. 212),
on which one of these is represented, containing two cupping-glasses, three
scarifiers, two scalpels, and a probe. The instruments appear to have been
almost entirely of bronze, except in the case of knives, which were often of iron,
fitted into a bronze handle ; silver was sometimes used, but as a rule only for
damascened patterns on the bronze. Nos. 2330, 2347, 234^. 2370-2384 are from
a hoard of surgical instruments and other objects all found together at Orvieto.
One of the finest existing specimens of a surgeon's apparatus was found in Paris,
and is described by Dr. Deneffe {Trousse d'tm Chirurgien, p. 31 ff.), with a
discussion of the various instruments. They were found enclosed in cylindrical
and oblong boxes, all within a large vase.
The commonest type of surgical instrument is that of the spatula, termin-
ating at one end in a bulb, at the other in a flat leaf-shaped or oval blade. The
spatula was employed for various purposes, generally for mixing and spreading
INTRODUCTION. Ixv
ointments and medicaments, and both ends were used. The bistoury (Nos.
2332-2341) was a small knife with a short strong blade. The other objects, if
rightly identified, afford close parallels with modern instruments, and do not call
for further explanation here.
Among the objects used in the toilet (2383-2456) there
5. Razors. are few that require special comment. It should, however, be
noted that the semicircular and crescent-shaped razors (Nos.
2420-2423) appear to belong to a very primitive period ; they are found, for
instance, in the remains of the Terramare civilisation (see above, p. xliv., and
Torlonia-Gsell, Fouilles dans la Nkropole de Vulci, p. 296 ff.). It is to be
remarked that No. 2420 is said to have come from Athens, and No. 2422 from
Cyprus, but it is more likely that they were found in Italy and conveyed to
Greece for sale (see Helbig, Horn. Epos1, p. 248, note 2 ; he also gives a long
list of other examples found in Italy).
The question of locks and keys is a very difficult and
6. Locks and keys, complicated one, owing to the somewhat confusing accounts
in Homer and other authors of the arrangements employed
for door fastenings ; while the number of locks or representations of locks that
have come down to us are very {ew in number. The simplest form of door-
fastening as described by Homer (//. xii. 453 ff.) consisted of a double door with
bolts crossing both ways. Traces of such doors have been found in excava-
tions.* A far more elaborate system is that described in Od. xxi. 45 ff. and
in i. 436 ff. :
/3f; p l[xev he daXd/xoto, dvprjv S' eirepvaae /copcovrj
apyvperj, eVt Se k\ijl8' eravvacrev Ipbdvri.
These lines have been fully explained and illustrated by Diehls f and other
writers, but two points may be noted in passing. In the first place, there is here
no lock, properly so-called, but merely a bolt which was secured by a thong.
Secondly, the /copcevr] or key, with which the bolt was loosened, was an object
of peculiar shape, which is often depicted on Greek vases {e.g. F 127 and F 209
in the Brit. Mus.).J This was the typical form of key for the door of a temple,
and it is generally in the hands of a priestess that it is represented on the
vases. It should further be remarked that Kkrfiha in the passage quoted above
denotes the bolt (later, 6^ev<;), and not the key.§
Another lecus classiais on the subject of Greek door-fastenings is the
passage of Parmenides (i. 1 1 ff.), on which Diehls bases his comments ; the
* Schliemann, Tiryns, p. 276 ff. ; Benndorf, Heroon von Gjolbaschi, p. 35 ; Diehls, Parmenides, p. 117.
t Op. at. p. 127 ff.
% For specimens see Diehls, op. cit. p. 123 ff.
§ For a further discussion of the Homeric and other locks, see also Fink, Verschluss bet den Gr. u.
Rdmern (Regensburg, 1890) ; Protodikos, de aedibus Homericis (Leipzig, 1877) ; Cornish, Concise Diet, of
Antiqs. s.v. Ianua. See also for Roman locks, Marquardt, Privatctltertiimer, vii. p. 226 ff. , and Cohauscn
in Ann. d. Vereins fiit nassauischi Altertumskunde, xiii. p. 135 ff.
e
lxvi CATALOGUE OF BRONZES.
description seems to tally more or less with that of Homer. We have already
had occasion (p. lxiii.) to quote a passage from Aristophanes (Thesm. 421 ff.) which
also throws light on the subject. The system here employed is a cross between
the Homeric and the modern lock ; the bolt is not pushed along, but raised up by
means of three teeth in the key which fit into corresponding sockets in the bolt.
No doubt many modifications and extensions of this system were in use, which
would account for the numerous varieties of keys which have come down to us.
The type most commonly employed had a piece bent at right angles or an
obtuse angle to the shaft, to which two or three teeth (<yo/x(f)LOi) were attached.
This system is illustrated by Nos. 2593-2597, in which the holes for the wards of
the key are indicated.
Finally, we have the modern type of lock, with a hole for the insertion of
the key, and a system of revolving " tumblers." The door, or other object to
be fastened, was generally provided with a bronze plate (as Nos. 2587-2592), in
which various holes are cut, according to the shape of the wards of the key.
Other locks of various shapes exist (cf. Nos. 2599-2605), which were either
inserted in the door, or else attached like a padlock.
The varieties of key are so numerous that they almost defy classification.
Roughly speaking, they fall into two groups, those with wards formed by groups
of small pegs or arrangements similar to a modern key, and those with a flat
piece attached to the shaft in which a pattern is cut out to correspond lo the
hole in the lock, as No. 2619 ff. To the key-rings which so frequently occur we
have alluded above in speaking of finger-rings (see p. lxiii.).
Nos. 2704-2876 represent the collection of ancient arms
7. Arms and and armour — Greek, Etruscan, and Roman. Although these
Armour. objects are well represented in this and other museums, the
A. Homeric. chief sources of information available are those supplied by
their pourtrayal on ancient monuments ; in the case of
Greek armour, on the vases ; in the case of Roman, on reliefs, such as those
of Trajan's column. For our knowledge of the armour of the Mycenaean period
we are almost entirely dependent on evidence of this kind. A considerable
number of swords, spear-heads, and arrow-heads of this period have been found
on Mycenaean sites, but, with the exception of the greave (No. 74) found at
Enkomi, in Cyprus, no specimens of defensive armour exist. In this connection
we are met with the question how far the Homeric poems may be accepted as
evidence. A recent writer * has with much ingenuity adduced reasons for
answering the question in the affirmative. Many of his arguments, indeed, are
convincing, as, for instance, the use of the large oblong shield to protect the
whole body, which is represented on the silver fragment from Mycenae {Ephcm.
Archaeol. 1891, pi. 2, fig. 2). This shield would have obviated the necessity of
a metal cuiiass (Oayprj^) or metal greaves, and is more appropriate to the Homeric
method of warfare in chariots, while the small round shield is better suited to
* Reichel, Homeriscke IVaffen ; see also Class. Review, ix. (1X95), p. 55, and x. (1S96), p. 212.
INTRODUCTION. lxvi'l
more active movements. But the weak point in the argument is that it involves
the rejection, as later interpolations, of all passages which speak of a metal
cuirass (such as that of Agamemnon in xi. 19, and that of Achilles in xviii. 610).
Moreover, it entails the assumption that the civilisation of the Homeric period
is identical with that of Mycenae, which cannot be justified merely on the ground
of an identity in the fashions of armour, especially since the arguments from
methods of burial and female costume appear to point the other way. It may
also be pointed out that the Homeric descriptions of armour tally much more
closely with the subjects on black-figured vases of the sixth century.*
Apart from the Homeric question, we may note a few facts in reference to
Mycenaean armour, which can be gathered from the monuments. Helmets in
metal appear to be unknown ; the helmet of this period was in an early stage
of development, and consisted merely of a leather skull-cap, adorned with a
plume (Xocpos or /copvs), and the </>aA.o?, an erect piece over the forehead. Of the
shield there are two types : the large oblong shield mentioned above, and the
smaller shield of figure-of-eight form, which often occurs in Mycenaean art as a
decorative pattern as well as in actual use (see Reichel, op. cit. pp. 6, 7, 8). The
cuirass and greaves were only of leather, those parts of the body being protected
by the shield ; but no doubt greaves of bronze, and in later times even of tin,f
were in use, as the example from Cyprus implies.
The swords found at Mycenae vary in length from two to three feet, the
longer varieties having a double edge and handle of wood or bone, the shorten
which should rather be styled knives, a single edge and a ring-shaped handle.
In some cases (see No. 92) the blade is made double, perhaps in order to inflict a
more dangerous wound. The typical Bronze-Age sword and knife of Cyprus
are of about the same dimensions, but have long thin handles, ending in a small
hook (see Nos. 50, 52). The spear-heads are not cast until after the Mycenaean
period ; those from Ialysos and Cyprus are formed out of plates of metal rolled
up and hammered into a tube. Arrow-heads are rare, and of a single type, that
of a flat triangular head with more or less pointed barbs (see Nos. 30-34).
Specimens of Greek armour of the historical period are
B. Greek. comparatively rare, and, as has already been said, information
on the subject is to be derived chiefly from representations,
especially on the vases. Moreover, in many cases the date or origin of existing
objects is difficult to determine. The Ionian Greeks of Asia Minor seem to have
worn a close-fitting bronze helmet with the skin of a bull's head covering the
crown ; see Terracotta Sarcophagi in Brit. Mus. pi. 2, p. 8. Two types of
helmet stand out as conspicuously Greek. The first is that known as the
Corinthian helmet, from its frequent occurrence on the coins of Corinth. It has
closely-fitting cheek-pieces (TrapayvadlSes), with or without hinges, and between
* As maintained by Helbig {Horn. Epos,2 p. 284. ff.) ; see also Baumeister, Denkmaeler, iii. p. 2024.
t See Horn. //. xviii. 613, xxi. 592. As regards bronze greaves, it may be noted that the phrase
Xa^K0Kvr)/j.l5€s only occurs once, in //. vii. 41, and that this line is an undoubted interpolalion.
lxviii CATALOGUE OF BRONZES.
them a nasal or flat piece to protect the nose, these combining to serve the
purpose of a visor. It also had sometimes a piece to cover the neck at the
back ; this type was adopted by the Romans, who increased the piece at the
back to a considerable size. This helmet is frequently represented on the
Corinthian and Athenian vases ; examples in this collection are Nos. 251 *
(with dedicatory inscription), 2816, 2818, 2820, 2821 ; many were also found at
Olympia. It usually had a crest (A,odjo<>) inserted in a long grooved piece
supported by a tube on the crown, as represented frequently on the vases ; but
many helmets show no traces or signs of this. In the Hellenistic age the
Corinthian helmet was developed with more elaboration, and the cheek-pieces
were made separate and of a greater length. The other type, known as the
Attic helmet, had a short nasal and narrow cheek-pieces, cut to fit the outline
of the jaws and working on a hinge (cf. Nos. 2187, 2844). Another typical
Greek helmet is No. 317.
The Greek cuirass is represented best by a specimen found at Olympia
(Murray, Handbook of Gk. Archaeology, p. 122) ; existing examples are rare, but
many of course occur on the vases. The Greeks, however, often wore cuirasses
of linen. Those of bronze appear to have been made plain, with slight modelling
to adapt them to the anatomy of the body; Nos. 2846-2851 maybe Greek
examples.f Cuirasses formed of overlapping scales of metal sometimes occur on
red-figured vases (e.g. E yy, E 469). Greaves vary very little in type, and were
generally plain in character. When ornamentation is employed, it generally
takes the form of a Gorgoneion at the part covering the knee, as in Nos. 265, 249 ;
the modelling of the part which fits closely to the leg is often very carefully
rendered. Greek shields fall into three classes, as represented on the vases :
(1) the plain circular Argolic buckler ; (2) the Boeotian shield, so called from its
appearance on coins of Boeotian cities, which is oval in form, with a piece cut
out of each side ; (3) the pelta, a crescent-shaped shield, which was generally of
wicker covered with leather, and is almost exclusively used by Amazons in art.
The Greek shield usually bore a quasi-heraldic device (cf. Aesch. Sept. c. Theb.
387 ff. and Brit. Mus. Cat. of Vases, ii. passim).
Of offensive weapons the principal are the sword, the spear, and the arrow.
Greek swords were usually short, and employed for piercing rather than cutting ;
two varieties are the dirk (ey%eLp(8iov) and the kott'is, a sort of scimitar with
single edge. Nos. 2749, 2750, from Cameiros, are two typical Greek daggers of
the sixth century B.C. Spear-heads, as has been already pointed out, are now
cast, not beaten up. Nos. 2772, 2773, from Olympia, and 2774, 2779, from
Cameiros, may be regarded as genuine Greek specimens. The collection of
arrow-heads (Nos. 2797-2815) has come for the most part from Greek sites, and
belongs to the Hellenic period ; the various types are distinguished and
illustrated below (p. 346).
* This helmet, by virtue of its inscription, justifies the name of Corinthian for this type.
t There is a passage in Xenophon {Mem. iii. 10), which shews that the art of making body-armour
was carefully studied by the Greeks.
INTRODUCTION. lxix
Italian armour, especially that which can be referred to
C. Italian. Etruria or to Southern Italy, presents certain distinctive
features which are worthy of mention here. The earliest
specimens of weapons found in Italy are the celts of the flange-type (see p. 355)
found in the remains of the Terramare period, which appear to have been used
for military as well as domestic purposes. In the early Iron Age, bronze belts
occur, with which may be ranked Nos. 2852-2855, 2858. Early Etruscan shields
are not uncommon; the earliest specimens are merely decorated with patterns
of raised dots, after the manner of Nos. 368-373 ; No. 2704 is a fine specimen of
the next stage of decoration.* A later type of Etruscan shield is illustrated by
No. 2706 ; it is circular, with the edges bent over, and a deeply-hollowed centre,
in which is generally a mask of some kind. Etruscan swords are mostly of iron,
but the ordinary bronze type is represented by Nos. 2707-2709.
The various Italian types of helmet are very interesting, and considerable
numbers of them have been preserved. Of the specially Etruscan helmets there
are two principal types : (1) a high conical helmet with vertical brim, immedi-
ately above which the helmet is indented, so that the upper part projects over
the brim (see Nos. 2717-2720); (2) a low cap-like helmet which must have
come down over the face in front ; on these the eye-holes and nasal are merely
indicated in low relief, the eyebrows by incised featherings (see Nos. 2722,
2723). Another type which is found in Etruria is not exclusively Etruscan, but
also occurs north of the Alps and in Hungary ; it is very probably of Osco-
Samnite origin. In form it resembles a jockey cap, with a high knob at the
apex ; but the peak attached to the brim was intended to protect the neck, not
the forehead. Nos. 2725-2728 are examples of this type. The form of the
Hiero helmet (No. 250) is not exclusively Etruscan either; it was widely spread
over Europe, and even has modern parallels.
Most of the helmets found in Southern Italy present local peculiarities
which betray a non-Greek origin. Like the type just described, they are probably
remains of the Osco-Samnite civilisation. The most typical form is probably
derived from the leather conical cap or pileus, a high conical head-
covering with a deep brim all round, generally with a large curved piece of
bronze affixed to either side, in which the plume was inserted (cf. No. 2824).
Sometimes this was worn without any crest, as appears on a peculiar class of
Apulian vases (see Brit. Mus. Cat. iv. F 297, F 301, and Ann. dell Inst. 1852,
pis. M, N, P). Some helmets again have a spike on the apex which branches
into two for a double plume ; while others have hollow tubes for crests fixed to
the sides in place of the bronze pieces. The crests were of bronze, horse-hair,
and feathers. The South-Italian vases, especially those of Campania (see F 197,
F 241, and F 242 in Brit. Mus.), and a series of paintings discovered at Paestum
(Man. deli1 Inst. viii. pi. 21) afford an insight into further peculiarities of " Osco-
* Others are published by Orsi in Mus, Ital. di Class. Ant. ii. p. 97 ff. ; and a series of similar
shields, but of more advanced execution, by Orsi and Ilalbherr, ibid. Atlas, pis. 1-8, found in the ca\e
of Idacun Zeus in Crete.
/
lxx CATALOGUE OF BRONZES.
Samnite " armour. Another type of helmet appears, a close-fitting cap-like
shape with cheek-pieces, adorned with several upright plumes of feathers.
Warriors are usually clad in a very short chiton reaching just over the hips, over
which is a cuirass of a quasi-triangular form ornamented with three large bosses.
This appears to be the Kap8io(f>v\a^ of Polybius (Mi/it. Rom. 23, 14), and several
specimens are preserved to this day {e.g. No. 2845 and another in the Karlsruhe
Museum). The elaborate helmet worn by Heracles on the Assteas vase in
Madrid (made at Paestum) is an abnormal and exaggerated form.
Of Roman bronze armour, as distinguished from earlier Greek and Italian
specimens, comparatively little exists beyond what is depicted on the monuments.
The swords and such-like weapons are mostly of iron, but some have handles of
bronze. The famous " sword of Tiberius " (No. 867) is of iron in a bronze sheath.
The types of helmets are too numerous for classification, but are for the most part
developments of Greek or Etruscan prototypes. Gladiatorial armour has special
features of its own, such as the helmet with perforated visor, of which Nos. 2842,
2843 afford examples, or the covering for the arm often depicted in works of art
(see Nos. 2864-2S66). Nos. 1601-1605 and 2966 are typical figures of gladiators
illustrating these characteristics.*
* See also Baumeister, Denktnaeler, s.v. Wettkampfe, and Daremberg and Saglio, Diet, des Antiqs. s.-<>.
Gladiator.
L BRONZES HISTORICALLY GROUPED.
A. GREEK BRONZES.
I. MYCENAEAN PERIOD, i — 118.
A. RHODES AND OTHER GREEK ISLANDS (1-48).
1-42. Bronze weapons and other objects excavated by Messrs. Salzmann and
Biliotti at Ialysos in Rhodes in 1868, and presented to the Museum by
Professor John Ruskin in 1870 and 1872, with the exception of Nos. 28 and 29
from Cameiros, and 39 and 40, which came direct from Biliotti. All these
belong to the Mycenaean period, being found in tombs with pottery and "-ems
of that style (see Furtvvaengler and Loeschcke, Myken. Vasen, p. 1 ff., pis. A-E,
and Atlas, pis. 1-11).
1. SWORD. Two rivets for attachment of ivory handle, and one hole for another rivet ;
groove along middle of blade. Length 2o| in. From tomb 7. Presented 1870. Furtwaengler
and Loeschcke, Myken. Vasen, pi. D. 13. Much damaged.
2. SWORD, as last ; the handle and hilt complete (except the ivory filling) ; four rivets ;
parallel lines down the middle of the blade. Length 19J in. From tomb 4. Presented 1870.
Furtvvaengler and Loeschcke, Myken. Vasen, pi. D. 11, p. 8; Torr, Rhodes in Ancient
Times, pi. 3. D. A sword of the same type, but with double edges, as No. 92, is given in
Schliemann, Mycenae, fig. 238.
3. SWORD, as last but one ; a ridge down the centre. Length i6\ in. Presented 1872.
4. SWORD-BLADE (?), part of. Three rivets for attaching the handle. Length 6 in.
Presented 1872.
5. DAGGER, with two rivets at the top for attaching the handle. Length 6 f in. Presented
1872. Furtwaengler and Loeschcke, Myken. Vasen, pi. D. 19. Corroded and much broken.
6. DAGGER, as last ; three rivets for handle. Length 7 1 in. Presented 1872. Furtwaengler
and Loeschcke, Myken. Vasen, pi. D. 18.
7. DAGGER OR KNIFE. Four rivets for handle ; one edge is straight and blunt ; in
good condition. Length 13! in. From tomb 4. Presented 1870. Furtwaengler and
Loeschcke, Myken. Vasen, pi. D. 6, p. 8.
8. BLADE OF DAGGER, part of, broken in two; at the top, three rivets for handle.
Length 5! in. Presented 1872. Furtwaengler and Loeschcke, Myken. Vasen, pi. D. 1.
B
2 CATALOGUE OF BRONZES.
9. DAGGER OR KNIFE. Remains of ivory handle, beyond which the bronze hnndle
projects. Length 12^ in. From tomb 27. Presented 1872. Furtwaengler and Loeschcke,
My ken. Vasen, pi. D. 9, p. 14 ; Torr, Rhodes in Ancient Times, pi. 3. F.
10. KNIFE (Konls ?). Three rivets for handle; in good condition. Length 10} in.
Presented 1872. Furtwaengler and Loeschcke, Myken. Vasen, pi. D. 17, p. 8 ; .Torr, Rhodes in
Ancient Times, pi. 3. A.
11. KNIFE, as last. Four rivets for handle. Length 7-jj- in. Presented 1872. Torr, Rhodes
in Ancient Times, pi. 3. B. Blade damaged.
12. PART OF KNIFE, as before. Length 7 § in. Presented 1872. Furtwaengler and
Loeschcke, Myken. Vasen, pi. D. 8, p. 8.
13. KNIFE, as before ; only one rivet remaining ; corroded. Length 6} in. Presented 1872.
14 TWO KNIVES, as before ; four rivets for handle ; blades broken and much corroded.
Length 7 in. and jls in. From tomb 6. Presented 1870.
15. TWO KNIVES, as before ; three rivets remaining ; edge of blades damaged. Length 7!
and 7 1 in. From tomb 4. Presented 1870.
16. KNIFE, as before ; handle broken (two rivets remaining). Length 6 in. From tomb 6.
Presented 1870.
17. KNIFE, as before, in four fragments ; three rivets for handle; much injured. From
tomb 8. Presented 1870.
18. KNIFE, part of ; haft with three rivets ; point broken. Length 4 in. Presented 1870.
19. SPEAR-HEAD. Length i6~ in. From tomb 4. Presented 1870. Furtwaengler and
Loeschcke, Myken. Vasen, pi. D. 5 ; Torr, Rhodes in Ancient Times, pi. 3. C. The hollow part
is not cast, but beaten out of a flat plate into cylindrical form, and so in the other specimens here
described. The form of these spear-heads is typical of the European Bronze Age.
20. SPEAR-HEAD, with very broad blade. Length i%\ in. From tomb 4. Presented 1870.
Furtwaengler and Loeschcke, Myken. Vasen, pi. D. 16, p. 8 ; Torr, Rhodes in Ancient Times,
pi. 3- E.
21. SPEAR-HEAD; edge damaged. Length 8| in. From tomb 4. Presented 1870.
Furtwaengler and Loeschcke, Myken. Vasen, pi. D. 12, p. 8.
22. SPEAR-HEAD. Length 12' in. Presented 1870.
23. SPEAR-HEAD. Length 7 f in. Presented 1872. Furtwaengler and Loeschcke, Myken.
Vasen, pi. D. 10.
24. SPEAR-HEAD ; the end bent up, and the edges injured ; corroded. Length 13 in.
Presented 1872. Furtwaengler and Loeschcke, Myken. Vasen, pi. D. 14.
25. SPEAR-HEAD. Length 13 in. Presented 1872. Butt-end damaged.
26. SPEAR-HEAD. Length 9J in. Presented 1872. Furtwaengler and Loeschcke, Myken.
Vasen, pi. D. 15.
27. THREE SPEAR-HEADS. Lengths respectively 8| in., 1 i\ in. and i6£ in. Presented
1872. End of socket of second one shattered.
BRONZES OF MYCENAEAN PERIOD FROM RHODES. 3
28. SPEAR-HEAD. Length n| in. Cameiros, i86r. Probably of later date, but the
hollow part is still beaten together, not cast.
29 SPEAR-HEAD. Length 15! in. Cameiros, 1861. Probably 6th cent. B.C. Hollow
part beaten up into cylindrical shape, and pierced with a hole ; blade grooved, with moulded
tongue-pattern round the broad end.
Fig. 1 = No. 29.
30. ARROW-HEADS, seven in number, with long barbs and broad shaft. Length i7s to
4! in. Presented 1872.
31. ARROW-HEADS, four in number, with short barbs, forming a right angle with the
shaft. Length 1 ~ to l| in. Presented 1872.
32. ARROW-HEADS, three in number, as last; all much broken. Length if to if in.
Presented 1870.
33. ARROW-HEAD, with triangular top ; much corroded. Length 2| in. Presented 1870.
34. ARROW-HEAD (?) ; barbs broken off; much bent up. Length 4 in. Presented 1872.
35. CELT. Length 4 § in. Presented 1872. Furtwaengler and Loeschcke, Myken. Vasen,
pi. D, fig. 2. Flat type (A), as in Evans, Ancient Bronze Implements, p. 40.*
36. PLATE from a piece of armour, with holes pierced all round the lower edge ; roughly
wedge-shaped. Length 7 in. "Presented 1872. Broken in three pieces.
37. STYLI or bodkins, two fragments of. Length 3' and 4f in. Presented 1872.
38. FISH-HOOK. Length 2 in. Presented 1872.
39. FISH-HOOK, the butt-end twisted up in a loop. Length 2 \ -in. From Ialysos (Biliotti's
report, 16 June, 1868) ; found in the fourth chamber.
40. LID OF SMALL BOX, circular, with hinge. Length \\ in. From Ialysos, 1868;
found with the last.
41. SEVEN STUDS, or nail-heads, one with traces of gilding. Diam. \ to J in. Presented
1872.
42. GOAT, lying down, with head turned to its r. Ht. -| in. Length i| in. Presented 1872.
Head and tail much broken.
43. KNIFE, with three rivet-holes at the broader end of the blade, by which the handle has
been fastened on. Length 6J in. From Saria, or Suria (Nisyros ?), an island north of
Carpathos. Presented by W. R. Paton, Esq., 1889. Journ. Hell. Stud. xvii. p. 64. Edge
of blade jagged.
* For a classification of celts, see below, Nos. 2911-2941.
B 2
CATALOGUE OF BRONZES.
44. CELT, of type (A), as No. 35 ; broad and flat, with a diamond-shaped hole at the narrow
end. Length 6| in. From Saria. Presented by W. R. Paton, Esq., 1889. Journ. Hell.
Stud. xvii. p. 65. Cf. Proc. Soc. Antiqs. 2nd Ser. iii. p. 437 (objects from Kythnos, now
in Prehistoric Saloon of Brit.
Mus.).
45. CHISEL (?), narrow and
long. Length ,\ in. From
Saria. Presented by W. R.
Paton, Esq., 1889. Journ. Hell.
Stud. xvii. p. 64. Cf. Proc, Soc.
Antiqs. (ut supra).
46. DAGGER, with parallel
lines down the centre of the
blade ; an ivory handle has
been attached by bronze rivets.
Length \2~ in. Found in a
tomb with Mycenaean vases at Carpathos (see Furtwaengler and Loeschcke, Myken. Vascn,
p. 83). Presented by W. R. Paton, Esq., 1887. Journ. Bell. Stud. viii. p. 449, pi. 83, fig. 3.
Cf. No. 2.
47. KNIFE (kottls), with three rivets
on the handle uniting it to another piece
of bronze on which are two more rivets ;
probably this end of the blade was fixed
between two flat pieces of bronze by way
of a handle. Length iojj- in. Aegina,
1893. Journ. Hell. Stud. xvii. p. 65.
48. FLAT RING, much broken. Length 5' in. Antiparos, 1884. From a primitive tomb.
Fig. 2 = No. 44.
Fig. 3 — No. 47.
B. CYPRUS.
49-114. Bronze objects from excavations in Bronze-Age cemeteries in Cyprus.
Nos. 49-52 are from various sites, and were found at different times ; for
accounts of the excavations on those sites, see Myres, Cyprus Mus. Cat. Introd.
Nos. 53-114 are from the excavations conducted by the British Museum under
the bequest of Miss E. T. Turner; 53-58 from Curium (1895); 59-114 from
Enkomi near Salamis (1896).
49. TWO CELTS. Length 3J in. and \\ in. Phoenikiais, Cyprus, 1884 ; from the Bronze-
Age necropolis. Corroded. Type (A) as in Evans, Ancient Bronze Implements, p. 40.
50. THREE SPEAR HEADS or daggers, the butt-ends or handles ending in a hook.
Length 10] in., 10^ in., and 17^ in. Phoenikiais, Cyprus, 1884; Bronze-Age necropolis. The
shortest one is much corroded, and has lost the handle.
51. TWO SPEAR-HEADS, much corroded and split up. Length 12? in. and 17 in. From
Amathus. Presented by the Secretary of State for Foreign Affairs, 1880.
52. SPEAR-HEAD OR DAGGER, ending in a hook, as No. 50 ; a ridge down the middle.
Length \o\ in. Cyprus, 1869. Furtwaengler and Loeschcke, Myken. Vascn, pi. 1). 3.
BRONZES OF MYCENAEAN PERIOD FROM CYPRUS. 5
53. SPEAR-HEAD. Length l6| in. Curium, 1S95. From excavations under the Turner
bequest (tomb 44, Mycenaean site).
54. STEAR-HEAD. Length y\ in. Curium, 1895 (Turner bequest); tomb 94, Mycenaean
site.
55. DAGGER, with rivets on which the handle was fixed. Length 9} in. Curium, 1895
(Turner bequest) ; tomb 94.
56. TWO KNIFE-BLADES, with rivets for attachment of handle. Length 4l in. and
4l in. Curium, 1895 (Turner bequest) ; tomb 99, Mycenaean site.
57. FIBULA, of roughly quadrilateral shape, curving towards the head ; this shape is common
in tombs of the seventh and sixth centuries in Cyprus (but see No. 59 below). The pin is lost.
Length 2| in. Curium, 1895 ; from excavations under the Turner bequest. Mycenaean site,
tomb 102 ; found with a steatite intaglio with a bull in the style of the Vaphio cups, and a large
vase with figures. Two gold fibulae of similar shape (Oxford, Ashmolean Mus. 1197 and
1 198) were found in the excavations at Paphos in 1888 (Journ. Hell. Stud. xiii. p. 223, note),
together with a sub-Mycenaean pseudamphora ; two others from Maroni are in the Brit. Mus.
(see Journ. Hell. Stud. xvii. p. 63, where the provenance is wrongly given as Moni).
58. PAIR OF TWEEZERS. Length 4^ in. Curium, 1895 (Turner bequest). Mycenaean
site, tomb 107. Compare No. 117. Similar tweezers of bronze have been found in the
Bronze Age cemetery at Agia Paraskevi, Cyprus (Richter, Cyprus, the Bible, and Homer, pi.
150, fig. 2), and in silver at Mycenae (Schliemann, Mycenae, p. 308, fig. 469).
59. FIBULA, of the early Bronze-Age type, with oblong flat bowuniting in a spiral with the pin.
Length 3| in. Enkomi, tomb 38 (Turner bequest). Bronze fibulae of the Mycenaean period
are very rare ; two identical with this in shape were found at Mycenae in 1887 (see Ephcm.
Archaeol. 1888, pi. 9, fig. 2, p. 167). For a similar example from Italy, see Montelius,
Civilisation primitive en Italic, pi. 4, fig. 20. See also Studniczka in Athcn. Mittheil. xii.
(1887), p. 8ff., and Helbig in Nachr. d. k. Gcscllsch. d. IViss. zu Gottingcn, Phil. -hist. CI., 1896,
p. 235 ; for another example from Cyprus, see No. 57, from Curium.
60. FIBULA, as last, but the bow rises towards the foot, which holds the pin in a small
sheath. Length 5 in. Enkomi, tomb 74.
61. TRIPOD-STAND, on three feet, with connecting bars meeting in the middle ; round the
top, wavy pattern. Ht. 3| in. Tomb 97.
62. TRIPOD-STAND, with three feet from which spring Ionic columns (as on No. 76), and
outer supports uniting in rings with each other ; a projecting rim round the top. Ht. \\ in.
Tomb 58.
63. STAND, with circular band at the top formed of a row of double spirals between two
rims, supported on a square frame of four panels, each with a border of rings as above ; below
these are straight legs with a volute at the top of each, from which spring supports meeting
in a double volute. In each panel are two square openings with a solid framework in the
lower part, above which in each opening is the bust of a woman, as if looking out of a window,
of Egyptian type, with a thick curl of hair on each shoulder. Similar figures are to be seen
on ivory panels of Phoenician workmanship from the north-west palace at Nimroud (in the
Nimroud gallery of the Brit. Mus.). Tomb 97. The whole is very fragmentary and much
corroded ; one side is almost gone.
64. BOWL, with large sinking in centre, and upright side handles. Diameter \z\ in.
Tomb 66. Cf. Schliemann, Mycenae, p. 276.
6 CATALOGUE OF BRONZES.
65. LAMP, nearly square, with the end folded over on each side to form a sort of nozzle ; at
the other end is a long spike, which was inserted in the wall of the tomb on the left-hand side of
the door. Length g's in. Tomb 66. Spike broken.
66. NAILS, five in number, inserted in the walls of the tomb for hanging up objects ; they
are all slightly polygonal. A silver bowl was found hanging on one of these nails. Length 6J
to 9 in. Tomb 66.
67. UNCERTAIN OBJECT, perhaps a celt. Length 3| in. Tomb 73. Corroded. A
similar object in the Prehistoric Saloon of the Brit. Mus., case M.
68. KNIFE. Handle lost ; two rivets remaining. Length y~ in. Tomb 66. Corroded.
69. KNIFE, part of; handle and point lost ; two rivets remaining. Length 5 in. Tomb 66.
Very much corroded and split.
70. KNIFE, as before; in two pieces; two rivets remaining; handle lost. Length about
6| in. Tomb 66. Split and corroded.
71. KNIFE, part of; two rivets remaining. Length 3J in. Tomb 66. Corroded and
injured.
72. SWORD-BLADE, three fragments of, with ridge down the centre. Tomb 66.
73. SPEAR-HEAD, with hole in haft, which is injured. Length 6 in. Tomb 66. Corroded.
74. GREAVE for right leg, fragmentary, with remains of a bronze wire lace for the
fastening at the back, and two studs remaining on the edge, round which the lace was
wound ; along the edge a double ridge. Tomb 15.
75. JUG, in fragments, with high flat handle, and beak-shaped mouth. Tomb 15.
76. STAND, in fragments, with grooved band round the top, the supports in the form of
Ionic pilasters, fluted, with capitals of early type. Tomb 15.
77. THREE objects, either butt-ends of spears or supports formed in imitation of tree-stems,
with spurs on either side at the upper end. Ht. 8f to n| in. Tomb 15. Perhaps part of the
preceding object.
78. SPEAR-HEAD. Length 7f in. Tomb 15. Corroded and injured.
79. KNIFE. Length Jl in. Tomb 15. Corroded and injured. Three rivets remaining.
80. KNIFE-BLADE. Length 4$ in. Tomb 15. Corroded and injured.
81. SPEAR-HEAD, with thick ridge down the middle. Length 14! in. Tomb 16.
Corroded and split at the bottom. ,
82. KNIFE-BLADES, five in number, all corroded and injured ; on two are two rivets
remaining ; on another, one. Length 6 to 7 -J in. Tomb 16.
83. KNIFE, with haft in one piece ; the back edge curved. Length 6 in. Tomb 22.
84. THREE KNIVES, in which one, two, and three rivets remain respectively. Length
6^ in., 8£ in., and gl in. Tomb 22. All corroded.
85. KNIFE-BLADE, with three rivets vertically placed. Corroded. Length 8| in. Tomb 24.
86. SIX KNIFE-BLADES; all more or less fragmentary. Corroded and injured. Tomb 5 S.
87. SPEAR-HEAD. Length iog in. Tomb 79. Much corroded.
BRONZES OF MYCENAEAN PERIOD FROM CYPRUS. 7
88. SPEAR-HEAD. Split up and very much corroded. Type as usual. Length S% in.
Tomb 6o.
89. KNIFE. Three rivets remaining; very much corroded; point broken. Length 8* in.
Tomb 6o.
90. KNIFE-BLADE. Injured and corroded. Length 6| in. Tomb 6o.
91. KNIFE-BLADE. Length gl in. Tomb 40.
92. KNIFE-BLADE, formed of two separate blades soldered together longitudinally down
the middle, so as to present a double edge each side (cf. Schliemann, Mycenae, fig. 238). Length
6f in. Tomb 53. Corroded ; handle broken off.
93. SPEAR-HEAD, tapering to a point ; cylindrical and hollow throughout. Length I2f in.
Corroded ; socket injured. From the shaft of tomb 93.
94. SPEAR-HEADS, six in number, clustered together as in a quiver, with remains of wood
attaching to them, as also the remains of shafts of arrows. One has straight edges and a
blunt point ; another has lost the point. Length 5| in. to 8^ in. From the surface of the
site, probably the remains of an ancient foundry.*
95. KNIFE-BLADE, with three holes for rivets remaining. Corroded. Length 8| in.
96. KNIFE-BLADE, curved back. Length 5J in.
97. KNIFE-BLADE, as No. 92. Length 5 J in. Corroded ; one rivet remaining.
98. KNIFE, set in a bone socket. Length 6 in. (blade only, 3 in.). Corroded ; bone partly
worn away.
99. AXE-HEAD, thick and heavy, widening into a diamond shape in the middle, with circular
hole. Length 8| in. ; breadth 2 in.
lOOp AXE-HEAD, flat, with large hole ; ends not sharpened. Length 5 1 in. Corroded.
1002. AXE-H E AD, part of ; broken away at the socket. Length 4 in.
100 . AXE-HEAD, similar, fragment of. Length 2 1- in.
101. CELT, part of; quite plain. Length 4 in. Type (A), as Evans, Ancient Bronze Imple-
ments, p. 40 ; cf. Nos. 35, 44, 49.
102. HEAD OF HAMMER, with hole for handle. Length 6| in. Diam. 3 in. Corroded
and injured.
103. PLOUGH-SHARE, with spreading blade. Length 9! in.
104^ PLOUGH-SHARE, as last, but straight blade; much corroded; end broken away.
Length 7} in. Cf. Myres, Cyprus Mus. Cat. No. 609, p. 54 (from Curium, 1895).
104o. TWO FRAGMENTS of plough-shares as last.
105. WHEEL, with six spokes and small hole for axle. Diam. 5! in.
106. MODEL OF CHARIOT, formed of a pair of wheels with ten spokes and thick felly,
and connecting axle-bar with pole attached, ending in two curved pieces, pierced for the
attachment of the harness. Diam. of wheels, 5 in. Length 8 in. Corroded.
107. SHOVEL, with twisted handle ending in a kind of clieniskos, with a ring attached ; the
blade is square, with a raised rim all round. Length 2of in.
* Nos. 95-114 are also all from this site.
8 CATALOGUE OF BRONZES.
108. SHOVEL, as last ; no rim round the blade ; much injured. Length 18 in.
109. SHOVEL, as last but one ; much injured and corroded ; handle bent. Length l6| in.
110. SHOVEL, with handle ending in a spiral; blade nearly semi-circular |~~^. Length
I7f in. Slightly injured and corroded.
111. SHOVEL (?), as last ; blade with concave edges [^ ; corroded. Length 18* in.
112. PAIR OF TONGS (?), shaped like modern fire-tongs ; a band passes round the middle
part, and works up and down as they open and shut ; handle ring-shaped. Length 22 in.
Corroded.
113. UNCERTAIN OBJECT, like a tray, thick and flat, with projecting corners ; very much
corroded and roughly cast. On one side is cast the Cypriote letter _£P. Dimensions
2 ft. 2i in. by 16 in. by 2 in.
114. PART OF A BUCKET, with movable handle ending in rings, below each of which are
ornaments attached in the form of three spirals arranged in trefoil. Diam. of handle, 13! in.
C. CARIA.
115-118. Bronze objects from Assarlik in Caria, excavated by W. R. Paton, Esq.,
and presented by him in 1887. See Journ. Hell. Stud. viii. p. 66 fT. ; Class.
Review, 1887, p. 81 ; Perrot and Chipiez, Hist, de V Art, v. pp. 317, 331 ; Athen.
Mittheil. xii. (1887), p. 18, and xiii. (1888), p. 273 ; Helbig, Nekropole von
Assarlik, in N achrichten d. k. Gesellsch. d. Wiss., Phil.-hist. CI., Gottingen, 1896,
pt. 3, p. 23 ; id. in Sitzungsber. d. k. bayer. Akad. d. Wiss. 1896, p. 575. Mr.
Paton considers these objects to be the work of the Carian Leieges ; the pottery
found with them is of a quasi-Mycenaean character, and seems to belong to a
transition period immediately following on the Mycenaean age.
115. TWO SPIRAL ARMLETS, broadest in the middle, and tapering to each end, with
patterns of stippled dots. Ht. 2 to i\ in. Diam. i\ to 3J in. Journ. Hell. Stud. viii. p. 75.
116. TWO ARMLETS. Diam. 5f to 5J in. Journ. Hell. Stud. viii. p. 75.
117. PAIR OF TWEEZERS, with a loop at the end, in which are remains of a ring ; it is
ornamented with a punctured cable-pattern. Length 3* in. From tomb F. Compare No. 58.
Injured.
118- SIX FRAGMENTARY FIBULAE of late bronze-age type, intermediate between the
Mycenaean and Geometrical Periods and corresponding to the early Cypriote type, as
Nos. 57, 58.
(1) Semi-circular bow, with two rings round it ; has been silvered over. Length af in.
Foot and end of pin lost. Found in tomb O, inside a pithos. Journ. Hell. Stud. viii.
p. 74, fig. 17; Perrot and Chipiez, Hist, de PArt, v. p. 333, fig. 242 ; Daremberg and
Saglio, Diet, des Antiqs. s.v. Fibula, p. 1105, fig. 2980.
(2) Cypriote type ; quadrilateral shape. Length 3! in. From tomb N. Foot broken and
pin lost.
(3) As (1) but with flattened bow. Length 2| in. From tomb M. Pin broken and
foot lost.
(4) Bow semi-circular ; flat foot ; silvered over. Length 2J in. From tomb G. Pin lost
and foot broken.
(5) Cypriote type, with thick bow and double spiral at head ; a double ring round the upper
part of the bow. Length 2| in. From tomb C. Foot and pin lost.
(6) As the last. Length 3 in. Much broken ; end of pin and foot lost.
(7) Two fragments of fibulae from tomb C.
II. GEOMETRICAL PERIOD (i 19-178).
119-178. Bronzes of the period covered by the seventh and eighth centuries B.C.,
corresponding to the Dipylon and early Boeotian vases ; chiefly found at Thebes
and Cameiros, the tombs also containing Geometrical pottery of the above-
mentioned type. 119-131 are from Thebes; 132-175 from Cameiros, and
176-178 from various sites. The objects from Cameiros were all excavated by
Messrs. Salzmann and Biliotti in the years 1 860-1 865 or by Biliotti alone in 1885.
119. PAIR OF FIBULAE.
1. (a) A grazing deer to
r. ; above, two swans to 1 ;
in the field, two crosses.
(b) A horse to I. ; on its back, a
bird to 1. ; in the field, crosses.
The animals' bodies are filled
in with wavy and toothed
lines ; they are of very
elongated proportions.
2. Similar ; on (a) the
birds are confronted : on
/A\ *! A 11 Flg- 4= No. II9.
(b) the deer looks up.
Length of each, 6| in. Thebes, 1894. The pin of one is broken. The designs are
incised on fiat sail-shaped pieces of metal, bordered with zigzag lines ; the bow of the fibula is
expanded into three convex discs. For similar examples see Olympia, iv., pi. 22, Nos. 362-
366 ; Ephem. Archaeol. 1892, pi. 11 ; and Daremberg and Saglio, Diet, des Antiqs.,s.v. Fibula,
p. 1 105. The animal types are similar to those on the Geometrical vases from Thebes (cf.
A 561 and Ephem. Archaeol. 1892, pis. 8-12).
12C. PAIR OF FIBULAE. I. (a) A roaring lion advancing to r. ; in the field, a tettix,
two ribbon-like objects, and a star, (b) A horse galloping to left ; above, a bird to 1. ; between
the horse's legs, another ; in the field, a star.
2. Similar ; in the field of (a) are five ribbon-like objects. Length of each, 3^ in.
Thebes, 1894. Shape and style as the preceding pair, but instead of the three convex discs,
one oval leaf-shaped piece ; borders to designs as before. The pin is lost in each case.
121. FIBULA of Boeotian Geometrical type ; thin oval bow, slightly convex, with a knob at
either end ; a four-sided piece at right angles unites it to the head ; sail-shaped foot, the lower
edge turned up to form a sheath for the pin. On the foot are incised designs, with borders of
interlacing semicircles : (a) A ship with mast, steering-oar, aphlaston at stern, and long beak-
shaped prow, with the acrostolion above, on which a bird is perched ; another bird in the field
on the 1. ; below is a dolphin to r. The hull of the ship is divided into panels, on which are
vertical rows of wavy lines, as also on the bodies of the birds and dolphin ; on the steering-oar
is a lozenge-pattern ; below the design is a wavy line, (b) A horse to 1. ; in the field over its
back, a bird to 1. ; the bodies of both are filled in with wavy lines ; below the design is a wavy
line. Length 5 fin. Thebes (?), 1897. A similar fibula is given in Ephem. Archaeol. 1892,
pi. 11, fig. 1 ; see also Collignon in Mem. de la Soc. des Antiquaircs de France, lv. p. 1 ff.
Slightly injured and corroded, but practically complete. For similar ships on Dipylon vases,
see Torr, Ancient Ships, pi. 3, fig. 16.
10 CATALOGUE OF BRONZES.
122. FIBULA. Early Greek type ; Geometrical period. On the flat part is a stitch-border,
and on the end of it, above, a knob ; on the bow, which is semi-circular, a large bead, hollowed
out at the sides, on either side of which are two
flat rings. Length \\ in. Ht. 2% in. Thebes,
1887. Olympia, iv. p. 55 ; cf. ibid. Nos. 368, 369,
and Bull, de Corr. Hell. xii. p. 59.
123. FIBULA. As No. 121 ; on the flat part,
chevrons incised. Length 5^ in. Ht. 3} in.
Thebes, 1887. Most of the flat part is broken
away.
124. FIBULA. Bow as last, but thick and solid ;
double spiral at head. Length 1^ in. Thebes,
1887. Flat part broken away.
Fig. 5. = No. 122.
125. FIBULA. Type as Nos. 119 and 120, with nearly rectangular bow, expanding above into
three convex discs. Length ij in. Thebes, 1887.
126. FIEULA. Type as last ; four discs. On the flat part, within a stitch-border, a rude
bird seated to 1. ; on each disc is a stitch-border. Length 3§ in. Thebes, 1887. Pin and
part of bow lost.
127. FIBULA. Type as last ; on the flat part, a water-bird to r., looking back. Length
2 in. Thebes, 1887. Pin and part of bow lost.
128. FIBULA, with short bulbous bow, nearly spherical; double spiral. Length ij in.
Thebes, 1887. Foot lost.
129. FIBULA, flat part of; wavy and stitch-borders, with a quatrefoil incised in the centre.
Length if in. Thebes, 1887.
130. RING, part of, with vesica-shaped bezel, on which is engraved a woman seated to 1.,
wearing long chiton and himation, holding up a wreath in both hands. Length of bezel f in.
Thebes, 1887. Rough work.
131,. BRACELET, terminating in two beads at each end. Diam. 3 in. Thebes, 1887.
1312. SPIRAL, in the form of a snake. Length if in. Thebes, 1887.
1313. FRAGMENT of disc or mirror, incised with a six-pointed rosette. Diam. 3 in.
Thebes, 1887.
132-175. Objects found in excavations at Cameiros and other sites in Rhodes, 1860-
1885, dating from the seventh century B.C. Nos. 158-175 appear to have been
used as amulets.
132. EGYPTIAN QUEEN (?). The right hand is raised, palm outwards, and the 1. has
held some object ; long tresses falling on the shoulders and in a mass down the back.
Ht. 7| in. Cameiros, 1864. Very much worn and corroded.
133. MAN. Protruding lips and wide checks ; very rude. Ht. 3;^ in. Left foot and part of
right arm lost.
134. MAN. He stands with feet close together and hands on breast, and wears a short girt
chiton ; rude work. Ht. if in. A hole through the head, and another under the feet.
BRONZES OF GEOMETRICAL PERIOD FROM RHODES. I I
135. MAN. He is nude and beardless, with prominent ears, and wears a wig, the ends of
which are rolled up on the neck. Ht. t\ in. Cameiros, 1863. Left leg and both arms lost ;
right foot broken.
136. HUMAN FIGURE on circular base or small wheel, winged; very rude. Ht. i\ in.
Cameiros, 1864.
137. WOMAN. She stands on a bull's head with hands by her sides ; on the top of the head
is a ring. Ht. 2>i m« Cameiros, 1864. Site C, tomb 10 (?). Very much corroded ; split down
the middle of the face.
138. JOINTED DOLL, upper half. Ethiopian type of features ; wears wreath and necklace ;
on the top of the head is a socket. Ht. 2J in. Cameiros, 1864. Legs and arms lost ; the latter
have been made separately and fitted in.
139. LION CROUCHING. The lion crouches to r. with face to the front ; the hind part of
the body is represented in relief as if lying flat on its 1. side, the head being on the ground.
The figure is placed on a slab of bronze, and may have been used as a weight. Length 3 I in.
Cameiros, 1864 (tomb C. 6).
140. COW LYING DOWN, with face to front and legs crossed on its r. side, the tail twisted
over the back ; on a stand perforated with nine circles between chevron patterns. Ht. i|- in.
Length if in. Cameiros, 1864.
141. COW LYING DOWN, with face to front. Ht. I in. Cameiros, 1864 (?). Corroded.
142. STAG. Stiff thin proportions ; large branching antlers ; legs very short and not modelled,
each pair of feet being connected. Ht. 3! in. Cameiros, 1864.
143. RAM. Broad recurved horns, the tips touching ; the feet are placed on parallel transverse
bars, each pierced with two holes for rivets. Ht. 3! in. Cameiros, 1864 (tomb C. 6).
144. MONKEY squatting and playing the double flutes, with large ears ; on the 1. side of the
head is a projection. Ht. i| in. Cameiros, 1864.
145. SIREN. Wings spread; hair gathered in masses at the top and back of the head.
Ht. 1-2- in. Cameiros, 1864. Much corroded.
146. CRANE. Ht. 2 in. Cameiros, 1863.
147. URAEUS, wearing the crown of the south ; at the back is part of a frame with raised
compartments for enamel. Length if in. Cameiros, 1864.
148. BULL'S HEAD, forming an amulet ; on the top is a ring. Ht. ij in. Cameiros, 1864.
Much corroded.
149. DUCK. Perhaps part of a fibula. Ht. 1 in. Cameiros, 1864.
150. FIBULAE, eighteen in number ; type with semi-circular bow and flat
piece at the foot ; on the top of the bow is the figure of a bird. Ht. 1 to
if in. From Cameiros, 1864, all but two which were acquired in 1863. Five
are from the Acropolis, one from tomb C. P. 1, and one from tomb C. 10.
All are incomplete except the two acquired in 1863. An illustration of one
of these is given in Perrot and Chipiez, Hist, de PArt, iii. p. 831, fig. 594 ;
Daremberg and Saglio, Diet, des Antiqs. s.v. Fibula, p. 1105, fig. 2989. 1"'a- 6 = No- 'so.
12 CATALOGUE OF BRONZES.
151. FIBULA, with semi-circular bow, on which are three cubes alternating with two beads ;
the central cube has a knob attached. A similar fibula is represented on an early electrum
coin in the possession of Canon Greenwell. Length 2| in. Cameiros, 1864. Pin wanting;
has a coppery appearance due to over-cleaning.
152. FIBULA. "Geometrical" type; bulging bow, and flat part smaller than usual; it is
ornamented with stitch-borders and two bands of lozenge-pattern, incised. Length i\ in.
Cameiros, 1864 (Tomb C. 10).
153. FIBULA. Type as last ; pin lost ; on the flat part, borders of stitches and wavy lines.
Length if in. Phana, Rhodes, 1854 ; obtained by Newton. Zeitschr.fiir Ethnologie, 1889,
p. 215.
Fig. 7 = No. 151. Fig. 8 = No. 153. Fig. 9= No. 155.
154. FIBULA. " Leech "-type (see Nos. 1992-2000). Length 1 J in. Cameiros, 1864.
155. FIBULA, part of; bow ornamented with four large glass beads ; rectangular foot, bent
up at the end into a sheath. Length 2 \ in. Cameiros, 1864 (tomb C. P. 1).
156. FIBULA. Complete all except part of pin ; Geometrical type with semi-circulnr bow,
which is formed of a series of beads, with one of large size attached. On the flat part are
incised designs : (a) within a border of engrailed lines, a deer to 1. ; (b) within a similar border
a double key-pattern. Length 2% in. Ht. i| in. Rhodes, 1885 {Biliotti Sale Cat. 607).
157. FIBULA. Semi-circular bow, on which are four large beads of glass, two light and two
dark. Ht. 2 in. Length 2| in. Cameiros, 1864 (tcmb C. 8). Undset in Zeitschr.fiir Ethnol.
xxi. (1889), p. 215.
158. DUCK, on a perch fixed in awheel. Ht. 1^ in. Cameiros, 1864 (tomb C. 8).
159. TWO DUCKS, as before; wheel of four spokes. Ht. if and if in. Cameiros, 1864 ;
the smaller one from tomb C. P. 1.
160. TWO DUCKS, as before ; wheel of seven spokes. Ht. \~ and \\ in. Cameiros, 1864;
one from tomb 12, the other from tomb C. 8.
161. HEADS OF TWO GOATS, joined back to back, on a support, with base perforated in
the form of a Maltese cross; a hole pierced through the middle. Ht. \\ in. Cameiros, 1864
(tomb C. 11).
162. HEADS OF TWO GOATS, as last ; circular base, in the form of a wheel of seven
spokes. Ht. 1 1 in. Cameiros, 1864.
163. HEADS OF GOATS, as before; support and base lost. Ht. l| in. Cameiros, 1S64
(Papas Loures). Much corroded.
164. HEADS OF GOATS, as before; base in form of wheel. Ht. 2 in. Cameiros, 1S64.
Much corroded.
BRONZES OF GEOMETRICAL PERIOD. 1 3
165. HEADS OF GOATS, as before; base in form of wheel of eight spokes. Ht. I* in.
Cameiros, 1864 (tomb C. 11). Much corroded.
166. HEADS OF GOATS, as before ; no base. Ht. 1 in. Phana, Rhodes, 1854 : obtained
by Newton.
167. HEADS OF TWO ASSES (?), of similar type ; no base. Ht. r| in. Cameiros, 1863.
168. HEADS OF TWO COWS, on a base in the form of a six-spoked wheel. Ht. 2^ in.
Cameiros, 1863. Between the heads, a loop.
169. HEADS OF TWO COWS, as last ; much corroded. Ht. i| in. Cameiros, 1863.
170. HEADS OF TWO RAMS, as before ; base in form of wheel. Ht. 2 in. Cameiros, 1864.
(tomb C. 15). Much corroded.
171. HEADS OF TWO ANIMALS ; base in form of wheel. Ht. if in. Cameiros, 1864
(tomb C. 15).
172. TWO RAMS, the front halves of, joined back to back ; the shoulders of each are
perforated. Length ij| in. One leg broken off short.
173. RAM. Hole pierced through ; on the back has been a loop. Length 1 in. Cameiros, 1864.
174. WHEEL of eight spokes, on which is the figure of a bird (?), pierced through the breast ;
the head is wanting. Ht. 1^ in. Cameiros, 1864 (tomb C. P. 1).
175. WHEEL of nine spokes ; on the centre, a bar terminating in a loop. Ht. i7g in.
Cameiros, 1864 (C. P.). The bronze is split and corroded.
176. HORSE. The fore-legs are rivetted on and joined by a crossbar ; through the body is a
vertical hole. Length 3 in. From the valley of Phana, Rhodes ; obtained by Newton, 1854.
Very rude.
177. BULL. Length f in. Presented by Lord Stratford de Redcliffe, 1856 ; excavated by
Newton in Calymnos.
178. HARE. Length 1 in. Presented by Lord Stratford de Redcliffe, 1856 ; excavated by
Newton in Calymnos.
179-186. UNCLASSIFIED EARLY BRONZES.
179. Male figure, perhaps an archer. He stands on a small base, with r.
hand raised (now lost) and 1. arm extended horizontally ; in 1. hand he holds a
cylindrical object, perhaps part of a bow. He is beardless and ithyphallic,
and wears a conical cap with incised circles and dots, close-fitting chiton to the
hips, over which is a leather jerkin incised with spirals, and broad belt ; on the
back the dress is incised with dots, and on the 1. arm are incised zigzags. In
place of the ears are two rings, probably for suspension.
Ht. 5^ in. From Ilium Novum (?). Presented by Dr. H. Schliemann, 1874. The figure
is of extreme rudeness.
180. Man ploughing. He is bearded, and his r. hand is placed behind
his back, while with 1. he holds the plough-tail ; two oxen are yoked to the
plough, the right-hand one having his head turned in a contrary direction to the
other.
Length 5| in. Ht. 2\ in. Borrell Coll., 1852 ; probably from Greece or Asia Minor.
Archacologia, xxxvi. pi. 26, fig 16. Very rude modelling.
14
CATALOGUE OF BRONZES.
181. Two Women standing confronted, stabbing one another, as the men in
No. 183. They are nude, with long hair falling in a straight mass behind ; each
stabs the other in the 1. side, placing 1. arm round her neck.
Ht. 3x in. Borrell Coll., 1852 ; probably from Greece or Asia Minor. The style recalls
the primitive terra-cottas of Rhodes and Cyprus. Very rude modelling.
182. Man ploughing. He is bearded, and his r. hand is placed behind his
back, while with 1. he holds the plough tail ; two oxen are yoked to the plough,
the one on 1. having his head turned in a contrary direction to the other.
Length 4$ in. Ht. z\ in. Cyprus, 1875. Very rudely modelled; the plough is of a
clumsy primitive form. Compare No. 180.
183. Two Men, nude and bearded, stabbing each other in the 1. side with
swords ; the 1. arm of each passes round the other's neck ; their legs are inter-
twined.
Ht. 4j in. Cyprus, 1875. Very rude ; cf. the archaic Greek reliefs from Sparta {Ann.
dell' Inst. 1 86 1, pi. C), and No. 181. One sword broken.
184. Centaur, with human forelegs, the equine body attached behind ; r. arm
advanced.
Ht. 2J in. Cyprus, 1875. VeiT rude-
185; Male figure, standing with 1. leg slightly advanced, r. hand by his side, and
1. placed on breast ; he has thick straight hair, and wears a helmet of Cypriote
type with plume, a covering over the ear (see Joum. Hell. Stud. xi. p. 90),
and drawers. Below his feet are the sullage-pieces still remaining. Although
primitive in character, the figure is not archaic, and probably belongs to the
latter half of the fifth century B.C. It may be intended to represent Apollo
Amyclaeos (Resef-Mikal), who was a deity both of war and of nature (cf. Bull,
de Corr. Hell. vii. (1883), p. 513).
Ht. 4| in. Limniti, Cyprus, 1890. Joum. Hell. Stud. xi. p. 89. Cast solid.
186. Phoenician Bowl. In the centre is an incised design representing a
king wearing the atef crown with three discs and ostrich feathers on the head
of a sheep or goat, and a loin-cloth (the royal shenti) ; he strides forward to r.
brandishing a club in r. hand, with which he is about to strike four men, whose
hair he grasps ; in his 1. hand is a sword. These men have short hair and wear
small loin-cloths ; the rounded form of the hair is characteristic of the twenty-
sixth dynasty (about B.C. 600). They represent the principal foes of Western
Asia and Nubia. Superintending the scene is Menthu-Ra, wearing a disc
encircled by serpents and the shenti, and holding in r. hand zkhepeshov scimitar,
in 1. the ankh or emblem of life. Behind the king stands a royal bowman with
bow in 1. hand and a quiver full of arrows at his back ; he has short hair, and
wears a shenti and high peaked cap, and is of smaller proportions. In the
field are two birds flying and a curved object. Round this design is a frieze
representing a banquet-scene : A bearded man reclines on a couch with feet to
ARCHAIC GREEK BRONZES. 15
r., wearing a girdle, r. hand extended as if in conversation with a nude woman
who sits on the edge of the couch to L, playing the lyre ; her r. foot rests on a
footstool. Next is a beardless man seated to 1., wrapped in a close-fitting
garment, drinking from a bowl held in r. hand ; before him is a bird flying to
r., behind him a lotos-flower. Next is a man in a short chiton walking to 1.
and carrying a nude woman in his arms ; behind him, a bird flying to r. Next,
a couch with footstool beneath, on which a man (?) reclines with feet to r., raised
in the air (?) ; next are two men wearing loin-cloths walking to 1., carrying a
sit?ila between them slung on a pole ; behind them, a lotos plant. Next is a
group of three figures to r. : a nude man with a jug in r. hand and bowl held up
in 1. ; another with long hair holding up a tambourine ; and a third wearing a
loin-cloth, playing the flute (?). They are preceded by two figures of whom the
upper part is obliterated ; the hinder one wears a long chiton. Next is a woman
sitting on a chair to r., holding a child on her lap ; she extends 1. hand to a man
seated opposite her on a couch, partly obliterated ; below the couch is a foot-
stool. Behind him follows an attendant wearing a loin-cloth, holding out a jug
in r. hand ; behind him is a lebes on a stand. Between this frieze and the
central design is a band of cable pattern.
Diam. $7g in. From Cyprus. Lawrence Sale, 1892. A. Cesnola, Salaminia, p. 51 ff.
The bronze is somewhat corroded, especially round the rim. The outer frieze is more Greek in
conception than the central design, though still treated in an Egyptian manner, especially the
heads of the figures ; the central design is purely Egyptian in character.
III. ARCHAIC GREEK BRONZES (550-460 B.C.). 187,-264.
187x. Fragment of repousse relief. A thin band of dark bronze, with
patterns formed of two parallel bands of dots in zigzags on either side of a
central band, the dots made by a solid circular punch. This bronze represents
an early stage in repousse relief-work (middle of sixth cent. B.C.) ; compare the
fragments from Olympia (Furtwaengler, Die Bronzen, iv. pi. 19). According
to Furtwaengler and Bather, the style of these bronzes is Argo-Corinthian, but
this is denied by A. De Ridder {De ectypis quibusdam aeneis, 1896), who
regards them as Chalcidian.
2 x 1,1 in. Eleutherae, Boeotia, 1893. Journ. Hell. Stud. xiii. p. 251, and see ibid. xvi.
P- 325-
187.. Two fragments of a stephane. Four heads of Corinthian type to 1.,
wearing open wicker-work cahxthi with a line of dots round the bottom, the hair
tied at the back of the neck and falling in parallel folds.
2 J x 1 in. Eleutherae, 1893. Journ. Hell. Stud. xiii. p. 251 ; De Ridder, De ectypis
quibusdam aeneis, p. 59. For the calathi, cf. a Corinthian vase in Brit. Mus. B 18.
1873. Fragment of relief. A band with rosettes between a border of dots.
2J X I, in. Eleutherae, 1893. Journ. Hell. Stud. xiii. p. 253.
1 6 CATALOGUE OF BRONZES.
1874. Fragment of relief. A large rosette, the centre of which is formed by-
smaller rosette with outer and inner rings of dots ; the outer part is not in relief,
but the leaves are marked by indented lines.
Diam. 4| in. Eleutherae, 1893. Journ. Hell, Stud. xiii. p. 253. The bronze is of a
bright gold colour.
1875. Fragment of relief. A band with guilloche pattern or plait-band.
2 x 1 in. Eleutherae, 1893. Journ. Hell. Stud. xiii. p. 253. The plait-band is common
on early bronzes ; Furtwaengler {Bronze/, aus Olympia, pp. 80, 93) attributes its invention to
Argos, as representing the rplnXa^ I'wTvi- of the Homeric shield (//. xviii. 479) ; but see the
remarks of De Ridder, De ectypis aeneis, p. 33.
188. Eileithyia (or Aphrodite). She wears a long chiton with apoptygma, Plate II.
fastened on the shoulders, with border of chevrons and dots ; on her head is
a polos, and her hair is parted and drawn down over the temples and rolled
up at the back of the head ; in front is a narrow sphendonh She wears
sandals, the right one having an incised pattern ; with r. thumb and forefinger she
holds up a flower, and with 1. hand she draws aside the skirt of her chiton (on
this attitude see Murray, Handbook of Gk. Archaeology, p. 258). Down the front
of her chiton is inscribed : AFl^TOMA+AAN 'Apio-roadya dvedriice rd 'FtXevdla
E©EKETAEA£V H r A '
(sc. sLiXeiouia :). ©I A
Ht. 43 in. Towneley Coll. Gerhard, Ueber Venusidole (Gesammelte Akad. Abhandl. i.
pi. 31, fig. 6, p. 265) ; Farnell, Cults oj the Gk. States, ii. pi. 59, p. 614; Bernoulli, Aphrodite,
p. 43 ; see also Preller-Robert, Gr. Mythol} i. p. 511.
189. Athene, on ancient base. She stands with 1. leg slightly bent back and Plate
r. hand extended with the palm upwards ; in 1. hand she has apparently held a XXIX.
spear. She wears a long chiton with apoptygvia and an aegis of scales, and her
hair falls down her back ; on her head is a helmet with large plume reaching
nearly to the waist, frontal ridge and cheek-pieces turned up ; the top of the
helmet ends in a volute.
Ht. with base, 4! in. Castellani, 1873. Left arm broken ; rather rudely executed.
190. Athene Promachos. She stands with 1. leg advanced, and has held Plate
a spear in r. hand and a shield in 1. She wears long chiton, and himation XXIX.
over her arms, and a visored helmet raised ; her hair is drawn over the temples
and gathered up behind.
Ht. 5 in. From Magna Graecia. Castellani, 1873. Furtwaengler, Mcisterwerke,
p. 26, note 2 ; p. 38, note 10 ; id. English ed. i. p. 16, note 1 ; Mon. deW Inst. Suppl. pi. 26, fig. 6 ;
Revue Archeol. xxvii. (1895), p. 15. Worn in places ; feet injured and both arms broken.
191. Athene Promachos. She stands in the usual attitude, with r. leg drawn Plate
back and 1. advanced ; the r. hand is raised in the act of thrusting with a XXIX.
spear (which is lost) ; the 1. arm is extended in front and bent as if holding a
shield. She wears a helmet with frontal ridge and a crouching Sphinx on the
top, long sleeved chiton, peplos falling in ptcryges, girdle of snakes, and an
ARCHAIC GREEK BRONZES. I 7
aegis of scales over back and breast with a small Gorgoneion in front and border
of snakes. Her hair falls in three curls over each shoulder, and in five parallel
wavy curls behind.
Ht. 4| in. From Athens. Castellani, 1873. Murray, Handbook of Gk. Archaeology,
pi. 20; id. Hist, of Gk. Sculpt, ii. pi. 10; Encycl. Brit.'J ii. p. 355 ; cf. Collignon, Hist, de la
Sculpt. Grecque, i. p. 352.
192. Female Figure. She stands in the " Spes " attitude, drawing aside her Plate I.
skirt with 1. hand and holding out r. arm. She wears a long chiton fastened up
the 1. arm, with an elaborate maeander border inlaid with silver, and a himation
over r. shoulder, falling in rich folds and fastened with silver rosettes as studs
down the r. arm. Her hair is arranged in formal curls over the forehead, with
a thick mass falling over each temple and three tresses over each shoulder ;
it appears to have had a silver fillet round it, and to be covered with a cap
at the back, below which it ends in a sort of fringe, the curls and waves being
denoted by incised lines, vertical and horizontal. The eyes are inlaid with
diamonds for the pupils.
Ht. 6 in. ; with the ancient base, "]~ in. From Verona. Castellani, 1873. Newton,
Castellani Coll., pi. 2 ; Mrs. Mitchell, Hist, of A net. Sculpt, p. 280; Mon. deW Inst. Suppl.
pi. 26, fig. 1 ; Jahrbuch, xi. (1896), p. 31 ; Encycl. Brit? vi. p. 454. Right hand broken off.
Very graceful work, probably dating about 480 B.C. The arrangement of the drapery recalls
the archaic Acropolis statues, e.g. Collignon, Hist, de la Sculpt. GrcLquc, i. p. 366 ; the figure
there given much resembles this one in style.
193. Female Deity, who has formed part of the support of a candelabrum. She
stands in the " Spes " attitude, holding up her skirt with 1. hand ; her hair is
looped up at the back with a fillet, and she wears long chiton, himation over r.
shoulder, and boots ; in r. hand she holds a fruit.
Ht. 5| in. ; with spike at top, 8| in. Curium, Cyprus, 1895 (tomb 73, site B ; found with
a rock-crystal scaraboid of about 500 B.C.). The style is somewhat dry and stiff, like Etruscan
work, but the conception is graceful, and the details very carefully rendered.
194. Aphrodite (?). She stands with a flower held out in r. hand, and 1. hand Plate III.
also extended ; she wears a long chiton and himation falling in slightly archaic
folds or pteryges down the r. leg ; the sleeves of the chiton are looped up with
studs, and the himation is gathered in by a band passing over the r. shoulder
and under the 1. arm. She has laced-up shoes with rows of studs, a necklace,
and sphendone with chevron pattern ; long hair brought forward over the temples
and falling in a straight mass down the back, gathered in a band just above
the ends.
Ht. 5f in. From Melos. Castellani, 1873. A very similar figure, or perhaps an inaccurate
illustration of this one, is given in Mon. dell' Inst. Suppl. pi. 26, fig. 2. Right thumb lost ; left
arm much corroded.
195. Aphrodite (?). She stands in the same attitude as No. 194 ; her r. hand
has been extended and her 1. draws her skirt aside ; she wears a long chiton
c
1 8 CATALOGUE OF BRONZES.
and himation over r. shoulder falling in pteryges, and her hair is rolled up under
a fillet.
Ht. 4| in. From Athens. Presented by Mrs. Leake, 1853 ; formerly in the possession of
S. Rogers. Stackelberg, Grader der Hellenen, pi. 72, figs. 4, 5 ; Bernoulli, Aphrodite, p. 42,
No. 9. Right arm and left foot broken.
196. Aphrodite (?). She holds up the r. hand ; in the 1. she has held some
object. She wears long chiton and himation, and her hair is parted in front and
rolled up all round over a fillet.
Ht. 4f in. From Athens. Castellani, 1873. Man. dcW Inst. Suppl. pi. 26, fig. 4 ;
Furtwaengler in ^otes Winckelmanusfestprogr. p. 130, note 19.
197. Aphrodite (?). A stiff archaic figure in long chiton and apoptygma, the Plate I.
folds of the drapery being merely incised ; the hair is rolled up behind ; in her
r. hand is the head of a tJiyrsos or a flower, and with 1. hand she draws her
skirt aside.
Ht. 55 in. From Corfu. Woodhouse Coll., 1868. Bernoulli, Aphrodite, p. 83, No. 8;
Dumont-Pottier, Les Cer antiques de la Grece propre, p. 252, No. 27. Head injured.
198. Aphrodite (?). She wears a long sleeved chiton and large himation over Plate III.
r. shoulder, falling in pteryges, ornamented with occasional crosses ; she has short
hair, and holds up her drapery in 1. hand, while in r. she holds out a pomegranate.
On her head has been a head-dress of some kind, or else the support of a mirror
or other object.
Ht. 5i in. From Rome. Payne Knight Coll. (lxxii. 2). Top of head broken away.
Ancient base.
199. Aphrodite Ourania. She stands with 1. hand extended and a sceptre Plate II.
in r., with long chiton and apoptygma fastened at the shoulders ; she wears a
broad ampyx ornamented with two rows of crenelle pattern, over which her hair
is rolled and gathered up in a roll at the back.
Ht. 4| in. From Sicily. Hamilton Coll. 89.
200. Female Figure, perhaps Aphrodite. She wears a long chiton and himation
over r. shoulder, both ornamented with rows of crosses, falling in slight folds ;
her hair falls in a straight mass down her back. With 1. hand she lifts her
skirt, and in r. she holds a cone-shaped object, probably a fruit.
Ht. Sl in- From Locri. Castellani, 1873. The head is lost. The base is ancient.
201. Canephoros. A female figure carrying Zfcavovv (which is broken off), with
hair parted and rolled up behind, long chiton, and himation in which her 1. arm
is muffled ; the himation has a border of hatched lines, and there is a row of
stitching up the sleeves of the chiton.
Ht. 3I in. From Locri. Castellani, 1873. Feet lost. End of archaic period; green
patina. Pack flat and only slightly modelled.
/
ARCHAIC GREEK BRONZES. 19
202. Canephoros. As the last ; himation plain.
Ht. 3! in. From Locri. Castellani, 1873. Kavovu broken off.
203. Sappho (?) reclining with head to 1., and r. elbow resting on a cushion, in
both hands a chelys ; she has long hair with a row of curls round the forehead,
long sleeved chiton, and himation over lower limbs.
Dimensions 1 ,56 x 1 in. Design in relief, forming an embletna.
204. Female Figure. The figure is of Phoenician character, and the lower
part of the body is columnar, like a xoanon. She wears a long close-fitting
chiton, with short waist, and her hair falls flat over the forehead and straight
down all round. The arms are bent pieces of solid bronze inserted into the
shoulders, flattened out at the ends to form the hands.
Ht. 3| in. Cerigo, 1866. Presented by Signor Roumano. Mansell, Brit. A/us.
Photographs, No. 741, fig. 2.
205. Female Figure. She advances on 1. foot ; her hair hangs straight down
behind ; she wears wreath, long chiton, and himation over r. shoulder falling
in straight folds.
Ht. 2j in. 1874. Right foot and arms broken off. Rude work; very flat, almost a
relief ; the back scarcely worked at all.
206. Female Figure. She stands with r. foot advanced and r. hand extended ;
the 1. arm is bent, and has held some object ; she wears long sleeved chiton
with apoptygma, and the hair is looped up under a fillet.
Ht. i\ in. From Corfu. Woodhouse Coll., 1868.
207. Female Figure. She stands with feet together ; her hair falls in a long
tress on each shoulder and a flat mass at the back, turned up at the end ; she
wears a fillet, long chiton, and himation over r. shoulder falling in pteryges.
Ht. 6| in. From Locri. Castellani, 1873. Arms lost ; the right arm has been inserted
separately.
208. Female Figure running. She runs to r., with body turned to the front, Plate III.
looking down to her r., and holding up her skirt in 1. hand ; she wears a short
chiton with fold falling from r. shoulder, both bordered, and her hair falls in
parallel waves behind.
Ht. \\ in. Prisrend (?), Albania, 1876. Left leg from knee lost; attenuated proportions.
209. Apollo. Apparently a copy of the Apollo Philesios of Miletos by Plate I.
Canachos (cf. Pliny, H. N. xxxiv. 75 ; Jex-Blake and Sellers, Pliny s Chapters
on Art, p. 60, note ad loc). Apollo stands with 1. leg slightly advanced ;
he is nude and beardless. The hair is arranged in parallel rows, each
ending in two curls over the forehead, with three ringlets falling over each
shoulder in front ; the back hair is turned up at the ends in a double fold, and
round the head is a thick fillet, the ends of which hang down and are passed
C 2
20 CATALOGUE OF BRONZES.
round the back hair half-way down. His r. hand is extended and supports a
fawn lying down, while his 1. has held a bow.
Ht. 7 1 in. Good condition ; black patina. Payne Knight Coll. (v. i) ; probably from
Etruria ; originally in Gaddi Coll., Florence. Gorr, Mus. Etrusc. i. pi. 51; Spec. Ant.
Sculpt, i. pi. 12 ; Clarac, Muse'e de Sculpt, iii. pi. 483, No. 930; Ann. dell' Inst. 1834, pi. D,
fig. 4 ; Muller, Deukm.d. alt. Kunst, i. pi. 4, 21, and Kunstarchciol. Werke, i. p. 43 ; Rayet and
Thomas, Milet et le Golfe Latmique, pi. 28, 2; Rayet, Etudes dArcheologie et dArt, p. 165 ;
Overbeck, Kunstmythol. {Apollo), p. 24, fig. 5 ; id. Gesch. d. Gr. Plastik*, i. p. 144, fig. 24 ;
Murray, Hist, of Gk. Sculpt? i. p. 193 ; Perry, Gk. and Roman Sculpture, p. 87 ; Collignon,
Hist, de la Sculpt. Grecque, i. p. 313 ; Daremberg and Saglio, i. p. 318, fig. 375 ; Proc. Soc.
Antiqs. ser. 2, xi. p. 251 ; Gazette des Beaux Arts, ser. 1, xv. p. 166 ; Brunn, Gr. Kiinstler. i.
p. 78 ; Gardner, Handbook of Gk. Sculpture, p. 194 ; Arch. Zeit. 1879, p. 89, 1880, p. 22 ;
Mansell, Brit. Mus. Photographs, No. 740, fig. 1. See Friederichs-Wolters, No. 51, and
A. H. Smith, Cat. of Sculpture in Brit. Mus. i. p. 85.
This statuette very closely resembles the figure of Apollo on the late copper coins of Miletos,
which would probably have been copied from some famous statue such as that by Canachos.
Cf. the Piombino figure in the Louvre, also Brit. Mus. Cat. of Gems, No. 720, Numism.
Chronicle, 3rd Ser. xvii. (1896), pi. 5, fig. 13, and Muller, Denkm. d. alt. Kunst. i. pi. 15, 61.
It has also been suggested that this statuette was copied from the wooden statue of Apollo
Ismenios made by Canachos for Thebes.
210. Apollo. An archaic figure, standing with 1. leg slightly advanced, and
hands straight down by the sides ; he is beardless, and wears a polos : the hair
is neatly and formally arranged, falling down the back and gathered in a broad
fillet just above the ends.
Ht. 4 J in. 1864. Strangford Coll. Mansell, Brit. Mus. Photographs, No. 740, fig. 2.
Feet and left hand lost ; rather worn. The type is that of the well-known series of archaic
statues usually identified as Apollo, cf. Brit. Mus. Cat. of Sculpture, i. Nos. 200-207.
211. Achelobs. The river-god has a bull's body and human face, with long
beard curled up at the end, and long moustache ; he has short blunt horns, and
the hair is carefully rendered. He is lying down with his forelegs doubled
under him.
Length i\ in. 1847. Millingen Coll.
212. Heracles or Athlete. A nude bearded man, standing with 1. foot Plate II.
advanced and 1. hand extended ; each hand has held some object, now lost.
The hair and beard are short and curly ; both feet are flat on the ground.
The eyes have had pupils of silver or some other material.
Ht. 4| in. From Corfu. Woodhouse Coll., 1868. Encycl. Brit? ii. p. 351. First half
of fifth century B.C. ; cf. the figure of Harmodios in the well-known marble group at Naples
(Mus. Borb. viii. 7, 8).
213. Athlete. A nude beardless figure of Myronian type, standing with both Plate II.
feet flat on the ground, the r. leg bent ; the attitude recalls the statues of
Polycleitos, but this figure appears to be somewhat earlier in date.
Ht. 2j in. From Corfu. Woodhouse Coll., 1868. Encycl. Brit? ii. p. 357. Left arm
and most of right arm lost ; rather corroded, especially right arm and side.
ARCHAIC GREEK BRONZES. 2 1
214. Satyr with Ram. An ithyphallic term of a Satyr in relief, with beard Plate II.
and moustache, large pointed ears, and himation over r. shoulder and 1.
arm, in r. hand a small situ/a ; with 1. hand he holds the feet of a ram (?),
which he carries on his neck after the fashion of Hermes Criophoros (as in
Collignon, Hist, de la Sculpt. Grecque, i. p. 401). This type maybe derived from
the Hermes Criophoros of Calamis (Paus. ix. 22, 1), though the figure is that
of a Satyr.
Ht. 3f in. Towneley Coll. Ann. delV Inst. 1879, P- x38, No. 22 b. Fine brown patina.
215. Male Figure. He crouches in a sitting posture, with r. leg doubled
under him, and points with r. hand to or over his 1. leg ; he is bearded and nude,
and wears a conical cap. The r. hand has held some object such as a spear.
Ht. i| in. Payne Knight Coll. (lxxvii. 12). Jahrbuch, ii. (1887), p. 13. Late archaic style,
about 480 B.C. ; body and features well rendered. Von Sybel {pp. cit.) regards the figure as
genre, but it has been suggested that it represents Telephos curing his wound with the rust of
the spear, or, with less probability, Philoctetes.
216. Male Figure. A grotesque bearded figure, the part of the body from
the waist to the knees being reversed, and one arm shown in front, the other
behind ; the head is turned right round over the r. shoulder.
Ht. l\ in. From Cephalonia. Stackelberg, Griiber d. Helle)ten, pi. 73, 4-6.
217. Male Figure. He stands with r. foot slightly advanced, and hands held
up ; he has held some object in 1. He is beardless, and his hair falls in
thick curls over the forehead, and is rolled each side over a fillet, and gathered
in a knot at the back of the neck.
Ht. 6J in. Syra, 1867. Much injured and corroded; r. hand and foot lost; face
obliterated.
218. Male Figure or Satyr. He stands with hands hanging by his side ; he
has a pointed beard and long hair falling in parallel plaits behind.
Ht. 3J;in. Athens (?), 1875. Left hand and both feet lost. In the top of the head is a nail (?).
219. Male Figure. He is nude and beardless, and wears a conical cap ; both
hands are raised, and the 1. leg is slightly advanced.
Ht. 2 J in. From Anzi. Becmeathed by Sir W. Temple, 1856. Very rude and archaic.
Legs below the knees lost.
220. Male Figure. He stands on tiptoe with legs bent, as if starting to run,
with r. arm extended and 1. arm straight down by his side. He is nude and
beardless, with hair falling straight down over the ears. On the back is a fiat
piece rivetted on.
Ht. 2{ in. From Corfu. Woodhouse Coll., 1868. Right hand lost.
221. Man reclining on a couch. He wears a close-fitting himation reaching
from the waist to the ankles, and a fillet ; his hair is arranged in curls over the
2 2 CATALOGUE OF BRONZES.
forehead, and falls in a flat mass down the back. His r. hand is placed on his
knee ; in 1. he holds a kyathos.
Ht. 3^ in. Length 5} in. From Ruvo. Bequeathed by Sir W. Temple, 1856. Rather
corroded. Very archaic, the treatment of the hair resembling that of the early " Apollo " statues.
222. Man riding on Camel. The figure is of Oriental type, with long hair Plate III.
combed back from the forehead falling in parallel waves, and long beard
with rows of formal curls ; he wears a fillet and short tight-fitting jacket. He
holds a goad in r. hand, and is seated on a high saddle ; the camel is kneeling
down.
Ht. 3s in. Length 3J in. Cameiros, 1864.
223. Trumpeter. He holds the trumpet sideways to 1., with r. hand at the
mouthpiece and 1. halfway down ; he is nude and wears a fillet. His hair is
straight over the forehead, and punched in rings over the rest of the head ; it
is gathered in a mass at the nape of the neck. The eyes are formed of pellets
of bronze attached separately.
Ht. 5-J in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Much
corroded.
224. Male Figure, which has served as the stand of a mirror. He is nude and Plate III.
beardless, with long hair falling in a flat mass down the back.
Ht. 6j| in. Thebes, 1896. Has been cast solid.
225. Sphinx. She is seated on an Ionic capital, turning to r., with recurved
wings springing from the shoulders and curly tail. On the head is a polos ;
the hair falls down the neck in wavy parallel rows, with vertical lines indicating
the separate curls.
Ht. 3! in. Blacas Coll., 1867.
226. Sphinx. As last, but turning to 1., seated on an Ionic capital. The wings
spring from the middle of the back ; they are small and slightly recurved.
Ht. 3| in. Blacas Coll., 1867.
227. Sphinx. She looks upwards ; her hair is parted and falls in thick parallel
tresses on the shoulders ; she has recurved wings, and the tail ends in a goose's
head (?) ; the eyes are deeply sunk, and have been inlaid.
Ht. 3| in. Cos, 1884. Hind feet broken off; fore-paws injured.
228. Sphinx (?). She runs forward, looking to her 1. ; the tail is curved over
the back, and the wings recurved.
Ht. 1 1 in. Cyprus, 1875. Paws and tips of wings broker off.
229. Siren. She looks slightly to her 1. ; the hair is parted and falls in a
thick mass behind.
Ht. 2 in. Cyprus, 1S75.
ARCHAIC GREEK BRONZES. 23
230. Siren. She stands to the front on a double tendril, with wings recurved
and spread out on either side ; she wears a cap with three upright projections.
Ht. 1] in. Millingcn Coll., 1847.
231. Siren. She stands on a hemispherical base, with wings closed ; she wears
a petasos and necklace ; the front hair is knotted behind and the back hair is
tied in a club. The eyes have been inlaid with silver (one is lost).
Ht. 2\ in. Corfu, 1865.
232. Lioness. She is represented in the act of springing forward, looking round
to r., and has the mane of a lion, arranged in formal zig-zag rows.
Ht. 3| in. Length 6| in. From Corfu. Woodhouse Coll., 1868. Tip of tail broken off.
233. Goat. It lies down, looking to its r., with both forelegs bent ; it has a
long beard, which, together with the hair above the face and along the back, is
treated in the archaic manner and carefully executed.
Ht. 3 in. Length 4] in. From Greece, 1873.
234. Goat. Exactly similar to the last ; head thrown back ; longer horns.
Ht. 3 in. Length 4I in. From Greece, 1873.
235. Bull. Rendered in a somewhat primitive fashion, but recognisable by the
hump between the shoulders.
Ht. 1 1 in. Curium, Cyprus, 1895. Found with the statuette, No. 193, in a fifth- century
tomb (No. 73). Corroded.
236. Locust. Probably dedicated to some god as the destroyer of locusts, such
as Apollo Parnopios (Paus. i. 24, 8, and Strabo, 613); cf. Ross, Arch. Aitfs.
i. p. 209, on a bronze locust found by him at Branchidae.
Length 3! in. From Lindos, Rhodes. Presented by General Haug, 1862. Has been
painted purple.
237. Hare. On the 1. shoulder is a round hole, which had probably held the
weapon with which the hare was slain. The body is represented bounding
forward, the head thrown back in agony ; the motion is rendered with great
spirit. The bronze is solid ; on the r. side and underneath is an inscription in the
Ionic dialect with dedication to Apollo of Priene (letters dating about 480 B.C.) :
n,nTlnnAAOn(\lOT Tw'A7ro\\fl)WT»n-
AMIHAHH pir)(X)rjt fi a-
HQ3UI vkdv)-
Length 2 J in. Ht. if in. From Priene ; obtained in Samos by Mr. C. R. Cockerell ;
afterwards in Burgon Coll. Brondsted, Voyages et Recherches dans la Griee, i. p. 109 ; Rose,
laser. Gr. Vet. pi. 51, 2, p. 326 ; Trans. Roy. Soc. Lit. i. pt. 2, p. 1 ; Kirchhoff, Studien,* p. 30 ;
Hoffmann, Gr. Dialekte, iii. p. 70 ; Roberts, G£. Epigraphy, i. p. ]86 ; C. I. Gr. 2247 ; Roehl,
/. G. A. 385, and Iniagg. p. 45, No. 18 ; Brit. Mus. Inscr. 230 (gives facsimile) ; Newton, Essays
on Art and Arehceology, p. 102 ; Daremberg and Saglio, ii. p. 375, fig. 2537 (s.v. Donarium) ;
Class. Review, iii. (1889), p. 423. The tail and feet are lost.
24 CATALOGUE OF BRONZES.
238. Aphrodite, forming stand of mirror, which is lost. She wears a long girt Plate III.
chiton falling in straight folds, with apoptygma, and a double fillet or cap ; her
hair is arranged in elaborate curls in front, and parallel waved tresses turned up
at the ends ; in r. hand she holds a pigeon, and with 1. she lifts the skirt of
her dress.
Ht. 8| in. From Naples. Payne Knight Coll. (Ixxxix. 41). Bernoulli, Aphrodite, p. 83,
No. 6; Dumont-Pottier, Les Ceramiques de la Grece propre, ii. p. 252, No. 25. Aphrodite's
feet are injured. On the bottom of the mirror is incised a palmette with volutes.
239. Stand of Mirror. The stand is in the form of a figure of Aphrodite, with
hair rolled up round her head, and long chiton with apoptygma ; with 1. hand
she lifts the skirt of her drapery ; in r. she holds out a dove.
Ht. 5 | in. Burgon Coll.; obtained at Athens in 1813. Stackelberg, Griiber d. Hell.
pi. 74, figs. 1, 2 ; Bernoulli, Aphrodite, p. 45, No. 19. The mirror is lost; surface of bronze
corroded. On the support of the mirror are volutes.
240. Mirror, with stand. As last, except that the figure holds out the r. hand
empty, and it is therefore doubtful if Aphrodite is meant. The base is ancient,
and rests on three lion's feet.
Ht. 1 1 g in. From Athens. Castellani, 1873.
241. Mirror, with stand. The stand is in the form of a figure of Aphrodite ; Plate IV.
the support of the mirror is plain, and from it depend two Erotes with hair
rolled up, reaching towards Aphrodite ; their wings are wanting. She wears a
long chiton (on which are wavy lines), embroidered himation over r. shoulder
falling in pteryges, and shoes ; her hair is arranged in rows of curls in front,
with a broad fillet on which a chevron-pattern is incised, and falls in a flat
mass down the back, tied just above the ends. In her r. hand she holds a dove ;
with 1. she draws aside her skirt.
Ht. 16 in. Athens, 1854. Bernoulli, Aphrodite, p. 45, No. 18. The surface of the
mirror is corroded. This figure stands on an ancient base, with three lion's feet. It is of a
very archaic type, probably the latter half of the sixth century B.C.
242. Mirror, with stand. On the support of the mirror are incised a palmette
and volutes ; at each end is a rosette in relief. On either side hangs an Eros
with long hair, sandals, and wings spread, flying towards Aphrodite, whose
figure forms the stand of the mirror. Her hair is parted and rolled up under
a fillet, and falls in a flat mass down the back, being tied at the neck. She
wears a long chiton with apoptygma and shoes, and holds out a dove in r. hand,
while with 1. she draws aside her skirt.
Ht. I2| in. Sunium, Attica, 185 1. Gazette Archiol. ii. (1876), p. 40; E?icycl. Brit? vi.
p. 453 ; Bernoulli, Aphrodite, p. 83, No. 5 ; Dumont-Pottier, Les Ce'ramiqucs de la Grece propre,
ii. p. 252. The surface of the mirror is corroded. This figure stands on an ancient moulded
base. The date appears to be shortly before Pheidias, perhaps about 480-460 13. c.
243. Mirror, with stand. Round the mirror are the figures of a fox to r. and Plate IV.
two hares which he is pursuing ; on the top, a Siren with wings spread, above
ARCHAIC GREEK BRONZES.
O
which is a ring. On the support volutes are incised ; on either side hangs an
Eros with long hair and wings spread, flying towards Aphrodite, whose figure
forms the stand of the mirror. She wears a cap, long chiton, and himation, and
her hair is rolled on either side and gathered in a knot behind ; in her 1. hand is
an egg (?) ; her r. hand has been extended, but is now lost. The figure stands
on an ancient base, with three lion's feet.
Ht. l6j in. Corinth, 1S73. Much corroded, especially the mirror. Cf. Arch. Zeit. 1879,
pi. 12, pp. 100, 204, for similar examples at Berlin and elsewhere.
244. Mirror, with incised design of Eros running. He runs in the archaic Plate XVII.
manner to 1., holding up a flower in r. hand, and in his 1. is a cJielys ; he has long
hair confined with a beaded fillet, and wears endromides with recurved flaps or
wings attached ; his wings are shewn in false perspective. Round the design, a
cable-border.
Diam. 5-f in. Towneley Coll. Gerhard, Etr. Spiegel, i. pi. 120, fig. 2, iii. p. 120 ; id.
Gcsammclte akad. Abhandl. pi. 52, fig. 3 ; Daremberg and Saglio, i. p. 1598, fig. 2147 ; Sittl,
Die Gebcirden der Griechen u. Homer, p. 269, fig. 24; Roscher, i. p. 1350 (s.v. Eros);
Friederichs, Kleinere Kunst u. Industrie, p. 20 ; Bull, de Corr. Hell. i. (1877), p. 109. A print
is preserved among the Towneley drawings in the Brit. Mus. No handle. The design has
affinities with Etruscan work, but is more probably Greek. Similar types occur on many red-
figured vases, see Furtwaengler, Eros in d. Vascnmalerci, p. 15, and cf. the Brit. Mus. vase E 13.
245. Handle of Mirror, on which is a Gorgoneion of the archaic type ; probably
Greek, not Cypriote work.
Length 4 in. Curium, Cyprus, 1895. Tomb 10, site B ; found with a late black-figured
amphoriskos.
246. Handle of Mirror, on which is a relief of a Siren to the front, with wings
spread ; good fifth-century Greek work.
Ht. 3 § in. Curium, Cyprus, 1895. Tomb 78, site B ; found with a late black-figured
kylix. Much corroded.
247. Ionic Column, forming part of a candelabrum ; the type is that of the
Ionic capitals at Phigaleia. The sides are split.
Ht. 4| in. Curium, Cyprus, 1895 (tomb 73).
248. Diskos, with incised designs. (1) An athlete to r., nude and beardless,
with hair arranged in elaborate curls, and muscles strongly marked throughout,
preparing to jump; his r. leg is drawn back for the spring, and in both hands
he holds out jumping-weights. (2) A similar athlete measuring his leap ; he
moves to r., looking to 1., holding a measuring-cord in his arms, which are
extended at full length, the ends of the cord being twisted round the 1. thumb
and two fingers of the r. hand. He appears to be ascertaining the opyvia of six
feet by means of his outstretched arms, in order to measure the length of his
leap ; cf. the metrological relief at Oxford, Journ. Hell. Stud. iv. pi. 35, p. 335.
26
CATALOGUE OF BRONZES.
The figures on this disc are drawn with severe accuracy, and the anatomy is
rendered in a masterly fashion.
Diam. 8} in. From Sicily. Woodhouse Coll., 1868. Gazette Archeol. 1875, pi- 35; P- I3I
(the measuring-cord on the reverse side is given as a spear with amentum) ; Murray, Hand-
book of Gk. Archaeology, p. 123 (obverse only) ; Journ. Hell. Stud. i. p. 215 ; Woltmann and
Woermann, History of Painting, p. 87 ; Friederichs, Klein. Kunst u. Industrie, p. 263. A
similar diskos from Aegina in the Berlin Museum (Friederichs, op. cit. No. 1273). The
dimensions and weight are less than those of the real diskos (cf. No. 2691). The date appears
to be about B.C. 480—465 ; compare for the style the coins of Syracuse attributed to Hiero I.
{Brit. Mus. Cat. Coins of Sicily, p. 154 ft".). For other instances of athletes with measuring-
tapes, see Gerhard, A user I. Vasenb. iv. pi. 271.
Fig. 10 = No. 24
249. Pair of Greaves. In front, on each knee, is the figure of a Gorgon,
running in the archaic manner, partly in repousse relief, partly incised. The
eyes are hollow and were originally set with gems ; the teeth and tongue, which
protrude, are of ivory. She has stiff archaic curls and recurved wings (both
incised), short girt chiton with elaborate incised patterns, and winged endromides
also incised ; she holds a snake in either hand. Round the head is incised a
tongue-pattern ; round the edge of the greaves are holes for fastening them,
and on the right-hand one is a row of embossed studs ; along the edges are
repousse and incised patterns.
Ht. 16 in. From Ruvo. Bequeathed by Sir W. Temple, 1856.
p. 283 ; Arch. Zeit. 1857, Aucciger, p. 28. Slightly injured.
fount. Hell. Stud. \ i.
ARCHAIC GREEK BRONZES. 27
250. Helmet. It is almost spherical, and quite plain, with a narrow brim ; it
resembles those worn by the Parliamentarians in the seventeenth century. On
it is incised : —
BlAfcONOAEINOMENEO^ 'Idpav 6 Aeivopeveo?
KAITOI^VRAKO^IOI tcai Toltypa/coatoi
TOIAlTVRANArOKVMA^ Tffl At Tvp(p)av' dtrb Kvpas.
It was one of the spoils from the naval victory of Hicro I. over the
Tyrrhenians, B.C. 474, and was dedicated by him at Olympia. Cf. Pindar,
Pyth. i. 72, and Schol. ad loc. ; also Diodorus Siculus, xi. 51.
Ht. 8 in. Found at Olympia, 1817. Presented to His Majesty King George IV. by Sir
Patrick Ross, and by him to the Museum in 1823. Brondsted, Inscr. Greca in elmo di bronzo
1820 ; Rose, Inscr. Gr. Vet. pi. 8, 1 ; C. 1. Gr. 16 ; Hermann, Ueber BoeckWs Inschriften
Leipzig, 1826, p. 55 ; Boettiger, Amalthea, iii. p. 55 ff- 5 Class. Journal, xxix. p. 133, xxxiv
p. 322 ff. ; Leake, Journal oj a Tour in Asia Minor, p. 240 ; Freeman, Hist, of Sicily, ii
p. 251; Kemble, Horae Feralcs, pi. 12, fig. 1; Palaeographical Soc. Ser. 1, pi. 77b.
Daremberg and Saglio, Diet, des An tigs. ii. p. 377, fig- 2545 {s.v. Donarium) ; Journ. Hell,
Stud. ii. p. 67 ; Roehl, /. G. A., 510, and Imagg. p. 63, No. 21 ; Roberts, Gk. Epigraphy, i. p
134 ; Gr. Dial.-Inschr. 3228 ; Hicks, Manual of Historical lasers, p. 14, No. 15 ; Hill, Sources
for Gk. History, p. 321 ; Olympia, iv. p. 172 (Furtwaengler), v. p. 363, No. 249 (Dittenberger
and Purgold).
251. Helmet. The helmet is of the ordinary visored " Corinthian " type.
Round the edge is inscribed: TADh . . 0IANE©ENT0IA!MT0N00DIN90©EN,
Tap7[et]oi dveOev t<x> AiFl rcov 9optvd66ev, i.e., dedicated to Zeus by the Argives
as spoil won in battle from the Corinthians.
Ht. 10 in. Diam. 7-I-9 in. Payne Knight Coll. Found by Morritt in 1795, in the bed
of the Alpheios, near Olympia. Class. Journ. xxxiv. p. 150 ; Walpole, European and Asiatic
Turkey, ii. p. 588, No. 53 ; Boeckh, Find. Expl. ii. 2, p. 226 ; Welcker, Syll. Epigr. Grace, ed.
2, p. 172, No. 123 (28); Rose, Inscr. Gr. Vet. pi. 7, fig. I, p. 59; Kemble, Horae Fcrales,
pi. 12, fig. 3 ; Michaelis, Ancient Marbles in Gt. Britain, p. 117 ; Dodwell, Classical Tour,
ii. p. 332 ; Journ. Hell. Stud. ii. p. 67 ; C. I. Gr. i. No. 29, pp. 47, §85 5 Roehl, /. G. A. 32,
and Imagg. 54, 3 ; Roberts, Gk. Epigraphy, i. p. no ; Brit. Mus. Inscr. 137 (with facsimile) ;
Gr. Dial.-Inschr. 3263 ; Hicks, Manual of Historical lasers, p. 9, No. 10; Hill, Sources Jor
Gk. History, p. 109 ; Olympia, iv. p. 168 (Furtwaengler) and v. p. 365, No. 250 (Dittenberger and
Purgold). The date appears to be about B.C. 460, but the occasion of the battle is not known.
252. Axe-Head. On the heft are two palmettes in relief with volutes either
side, and on either side of the heft a tongue-pattern and row of dots ; round the
heft are two milled rings. On the blade is inscribed in Achaian characters :
TAMH£PAMH$APOM Ta<?"Hpa9 lapos
EM$TAM£NrED$ epX Tas iv 7re6Y-
O$OYN$M0O (p . ?ww?o-
MMEAN£©£ 9 pe dvidrj-
KE - OPTAMO ice coprapo-
M " F £ P I O N 9 Fepycov
D£KATAN. Se/cdrav.
Ht. 6i in. Diameter 3} in. Found in 1850 near S. Agata in Calabria. Castellani, 1884
{Sale Cat. 311). Minervini in Bull. Arch. Nap. 1S53, pi. 5, 2, p. 137 ; Daremberg and Saglio,
28 CATALOGUE OF BRONZES.
ii. P- 377, fig- 2548 (s.v. Donarium) ; Dittenberger in Hermes, xiii. p. 391 ; Roehl, /. G. A. 543,
and Imagg. p. 37, No. 9; Roberts, Gk. Epigraphy, i. p. 303: Kirchhoff, Studien,* p. 164;
Kaibel, Inscr. Gr. Sic. Ital. 643. wprapos = 6 aprapos, probably some official connected with
the slaughter of beasts for sacrifice.
253. Wheel. The wheel has four spokes, and resembles that on the Brit.
Mus. vase B 134. Round the felly is inscribed: TOi fanakoi ■ EMI ; EW---£ :
ANE0EKE, tc3 favciKW ejxi (sc. Bcopov) ' Ev8[ap,o]<i (or EvB[dpa]<i) dveOrjfce. favciKW
is another form of ava/cTC. Probably Zeus is meant, and the wheel commemorates
a victory in the Nemean games.
Diam. 4 in. 1880. Said to have been found near Argos. Roberts, Gk. Epigraphy, i.
p. 116 ; Roehl, /. G. A. p. 173, No. 43 a, and Imagg. p. 56, No. 12 ; Brit. Mus. Inscr. 138 ;
Arch. Zeit. 1882, p. 385 ; Revue Archeol. v. (1885), p. 180 ; Meister in Neue Jahrbucher fiir
Philol. cxxv. 1882, p. 522 ; Gr. Dial.-Inschr. 3274.
254. Strigil. On the handle is a figure stamped in relief of a bearded man
dancino- to r. ; rather worn. Round him are the remains of letters : n M C . On
the strigil is inscribed in archaic characters : £fJ^££J££
PIN0IOS,
Ka\\lcrTpaTO<; AioSoopov KopivOios.
Length 13 in. 1891. Class. Review, 1891, p. 241 ; Kretschrner, Gr. Vaseninschr. p. 39.
For inscribed strigils, see Pottier and Reinach, Necropole de Myrina, p. 201 ; Archaeologia,
xliii. p. 258 ; Garrucci, Dissert. Arch. p. 133 5 Bull. delV Inst. 1863, pp. 21, 188, and C. I. Gr.
8527.
255. Strigil. On the handle is inscribed : AvKiONOS, 'AXkiovos.
Length i6i in. Eretria, 1894.
256 Strigil. On the handle is inscribed in letlers inlaid in silver: KEVON,
K.e\a>v.
Length 14 in. Eretria, 1894.
257 Lebes. Round the cover are four athletes running to r., with out-
' stretched arms ; in the centre stands another with arms extended (both
broken) perhaps acting as athlothetes. The surface of these figures is very sus-
picious.' On the lebes is incised : SriTuiSoNOMASTOTO©$imv50AOVOiS5®5®5N,
eVi T0Z9 'Opofxdarov rov QeihiXew a6\oi<; iOidrjv.
Ht. 13I in., of lebes only, 7\ in. Diam. 15! in. From Cumae. Payne Knight Coll.
C. I. Gr. i/pp. 48 (No. 32), 886; Rose, Inscr. Gr. Vet. p. 65, pi. 7, 2; Roehl, /. 67. A. 525,
and Imagg. p. 7, No. 8 ; Heidclb. Jahrbuch, 1827, p. 998 ; Rhcin. Mus. xviii. p. 451 ; Ann. delV
Inst. 1879, P- I29> l88o> P- 344 ; Furtwaengler in Olympia, iv. p. 135 ; Journ. Hell. Stud. xiii.
p. 233 ; Roberts, Gk. Epigraphy, i. p. 201 ; Hoffmann, Gr. Dialckte, iii. p. 5. Probably this
lebes was the prize in the games referred to ; Onomastos was the athlothetes. According to
Guide to Bronze Room, 187 1, p. 18, the cover belongs to another lebes found in the same tomb.
258. Crater, with elaborate volute-handles, as F158 and other examples in
' the Fourth Vase Room, ending on the neck in swans' heads. On the shoulder,
ARCHAIC GREEK BRONZES. 29
tongue-pattern between bands of dots, incised. On the neck is inscribed in
archaic letters : Afl©, Spa ....
Ht. 23', in. From Locri. Pourtales Coll., 1865 {Cat. 717). Bcnndorf and Niemann,
Herooi von Gjblbaschi-Trysa, p. 232 ; C. I. Gr. iv. 8522. An early instance of the crater with
volute handles (cf. No. 583 and the vase B 364 in the Brit. Mus.).
259. Foot of Cista in the form of a lion's claw, above which is a figure of
Atlas (?) to the waist. He is bearded, with long hair rolled up on either side of
the head, and his hands are held up with the palms upwards behind his head,
as if to support the cista.
Ht. 3| in. Sidon, 1888. Good patina; probably Greek work.
260. Handle of Vase. At one end is a lion couchant ; underneath, a
palmette ; the mane is finely rendered. At the other end is a Satyr with
both arms raised as if to support the handle ; beard and moustache carefully
rendered ; long tail down r. side of body.
Ht. 5i in. 1892. Late archaic period. Left hand and feet of Satyr lost. The handle
is fluted.
261. Votive Tablet. Inscribed: 3*3©2MAMM0S*C1, Aocpios p dve6r)Ke.
Length 5 in. Ht. ig in. From Corfu. Woodhouse Coll., 1868. Mustoxides, Delle cose
Corciresi, i. p. 233; Vischer in Rhein. Mtts. ix. 1854, p. 385 ff., and Kleine Schriften, ii.
p. 13, pi. 2, fig. 1; Palaeographical Soc. Ser. 1, pi. 77 a; Kirchhoff, Studien*, p. 106;
Roberts, Gk. Epigraphy, i. p. 127 ; Roehl, /. G. A. 341, and Imagg. p. 60, No. 11 ; Gr. Dial.-
Inschr. 3187 ; Brit, Mus. Inscr. ii. 165, pi. 2, fig. 1 ; C. I. Gr. Sept. No. 705. The tablet is broken
in two, and the ring for suspension at one end is lost. The letters have the same local peculiarities
as are met with in the inscription on the tomb of Menecrates in Coifu (Roehl, /. G. A. 342).
262. Tablet. Oblong shape ; inscribed on both sides with an Instrument of
Colonisation applicable to certain colonists in Naupactos, as regards their relation
to the citizens of that town and to their mother-country, the Hypocnemidian Locri.
The alphabet and dialect are Locrian ; the date is previous to B C. 455, when
Naupactos was occupied by the Athenians. A facsimile of the inscription is
given by Roberts, Gk. Epigraphy, i. No. 231 ; the transliteration runs as follows:
Ez/ Naviratcrov Ka(r) rovSe a 'iziFoiKia. Ao^pbv top TTroKvapbihtov, &7r\ei Ka
NavTrdiCTLos yevrjrai, NavnaKTiov ibvra 07T0)(k fj) £evov bcrta \av%dv\eiv Kal dveiv
itjei/xev eTriTV^ovra, at Ka 8ei\i)Tac ' at tea het\r)rai, Qve.iv Kal \\av)(i'ivetv /cr) Sdfxco
fcrj ^oivdvcov, avTov Kal to yevos KaraiFei. TeA.09 to|i)? iiriFoi^ovs Ao^pwv tmv
"TTTOKvap.thiwv fir) cpdpeiv iv Ao^pol<; Tot|<? "TiroKvap.ihloi^ <ppiv icav Tt<? Aofpbs
yevrjrai twv TTroKvafithicov. At | heiXer avyoopelv, KaraXeiirovra iv rd [aria
iralba rjftaTav r) '8e\<pebv, i£\elfiev dvev iverrjplcov ' at ica inr avdvicas direXdoovTat
i Nau7ra/CTft) Ao9\pol toI "T7roKvafil8tot, i^elfiev dv^wpeiv, birw FeKacnos rjv,
dvev e\verr)p[(tiv. Te\o? fit] (pdpeiv fir)8ev ore fii] (fi)era Ao^pwv roiv Fe<jirapi\wv.
A. ' Efop?oi/ toIs eVifotOot? iv l^aviraiCTOv fir) 'iroaTdfiev d(jr O^ttovticov I re-
(x)va Kal fia^ava fir)8efiid Fe^bvTas. Tbv bp^ov i^elfiev, at Ka 8eL\\(ovrat, iizdyeiv
fierd Tpidfovra Ferea dirb tw bp^w eKarbv dvSpas 'O^ovt'lois Natr7ra/mW Kal
NauTra/fTtot? 'Sttovtiovs.
30 CATALOGUE OF BRONZES.
B. "Oaarii Ka \iirore\er)\t ey Nau7ra/cT&) tw^ einFoi^cov, dirb Ao^pcbv elpuev,
ev re k drroreiai) ra vo\fita Nair7ra/CTtot?.
r. At Ka fir) yevos ev ra [area r) eyerrafiov rebv eiu\FoL^cov 17 ev Navird/CTcoi,
Ao^pcbv rcov 'Tttokvci/jLiSlcov rbv eirdv)(ia\rov Kparelv, Ao^pcbv oireo Kr), avrbv ibvra,
at Kavrjp y i) rrals, rpicbv p\r)vcbv ' at Be pur), rol<; Nau7ra/CTioi9 vopuois yjpriarai.
A. 'E NaviraKrco dv)(cope\ovra ev Ao?poi«? tou? "TiroKvapLiBlov^ ev Nau7ra/CT&)
Kapvgcu iv ra\yopa, ktjv AoVpot? tol(i) tr£TroKvapu8loi<; ev ra ttoXl, co icy,
Kapv^ai ev | rdyopei.
E. Uep<?o6apiav fcal Mvaax^v, eVet Ka Nav7rdicTi(6<; Tt)«? yivrjra\i avrbs,
Kal ra ^prjpara rrjv NaviraKrcp rol<; ev NavTraKreo ^prjarai \ ra B"iv Ao?pot? rot?
"YTroKvapLiBlois yjpr']Liara rot? (rTTroKvafit8i\cH<i.
Reverse :
vop,[ois yjpi]arai, 07r&>? a 77-0X19 FeKaarcov vopbi^eu Ao^pcbv rebv rTTroKv\ap,LBicov. At
(icd) tls virb row vopieov rebv eiriFot^eov dvx<»per) Yiep^o6aptd\v Kal Mvaa^ecov toZ?
avrcbv vop,lois xp-rjaTai Kara ttoXlv FeKaarovs.
F. At KaSeXepeol ecovrt tw 'v ~Nav7raKTOv Fouceovros, oVco? /cat Ao?pw|i> tcov
'Yttokvcz/juSlcov FeKaarcov vopos earl, at k cnroOdvr], rebv -^prffidrcov Kparelv rbv
eirlFoitfov, rb Kartfbpevov Kparelv.
Z. Tov<i eTTiFoi^ovs ev NaviraKrov rdv BUav irpbBt^ov dpearai irbr rovs
8\iKaarr}pas, dpearai Kal Bopiev ev 'Oirbevn Kara Fe(r?)os avrap,apov. Aoj'lptbv rcov
trT7roKvapu8lcov irpoardrav Karaardaai, rcov Ao^pcbv rcomF\oi^cp Kal rebv eiriFoftcov
rco Ao? pep, oiTLves Ka7Ti(Fe)re<i evnpioi e[covrt],
H. r/Oaa\rt<; k dirdXiTrr) irardpa Kal rb piepos rebv %p7)fidrcov rep rrarpl, errel k\
diroyevyrai, e^elpiev diroXa^elv rbv iiriFoi^ov ev Nav7raKrov.
0. "Oaaris Ka ra FeFaBrj^bra BiacpOelpr) re^va Kal puayava Ka\l pad, on Ka fir)
dvcpordpois hoKerj, 'Ottovticov re ^ikicov rr\r)6\a Kal NaFrraKricov rebv eiriFoi^cov
ir\i]da, arifiov elpev, Kal xpil\fJiara'Tralxaro^arie"iaTai- TcovKaXeipievcp rdv hUav hopuev
rbv dp\)(bv, ev rptd^ovr dpudpais Bbpbev, at Ka rptci^ovr dfidpai \ei7Tcov\rai rds dpxds.
Ac Ka p}] 8i,8co rep evKa\eip,e'vep rdv hUav, drip\ov elpuev Kal xPVliaTa Trap-aroefrayeiarai
rb p,epo<;. Merd Fo\iKcardv Biop^baat op^ov rbv vopuiov ev vhptav rdv y\rdef>i^\^LV elfiev.
Kal rb Oedpuov Tot? "YiroKvapiLSlots Ao^pot? rav\ra reXeov elp,ev Xakeiiois Tot? avv
Avricpdra FoiKTirals.
Dimensions, 13^ x 7} in. Found near Galaxidi. Formerly in Woodhouse Coll. ;
acquired 1896. Since the death of Mr. Woodhouse in 1866 this tablet has been in the possession
of Mr. Taylor of Corfu and his heirs ; see Newton, Report on Woodhouse Coll., passim.
Oikonomides, 'Ettoikui AoKp&v ypdfxfiara, 1869; Curtius, Studien, ii. (1869), p. 441 ff . ; Allen,
ibid. 1870, p. 212 ff. ; Bursian in Litt. Centralblatt, 1870, p. 154 ; Vischer in Rhein. Mus.
xxvi. (1871), p. 39 ff. {-Kleine Schriften, ii. p. 172 ff.) ; Riedenauer in Hertnes, vii. (1873),
p. in f"f. ; Revue Archeol. xxxii. (1876), p. 115 ; Hicks, Manual of Hist. /user. p. 117, No. 63 ;
Roehl, /. C. A. 321 (gives variant readings), and Imagg. p. 17 ; Collitz, Dialektinsehr. ii.
1478; Cauer, Delectus, 1883, p. 161, No. 229; C. I. Gr. Sept. No. 333; Recueil des Inscr.
Jurid. Grecques, p. 180; Roberts, Gk. Epigraphy, i. No. 231, pp. 234, 346 (with commentary).
ARCHAIC GREEK BRONZES. 3 1
263. Tablet. Oblong shape, with a ring at one end for suspension : inscribed
on both sides with part of a treaty in regard to reprisals between the towns of
Chaleion and Oeantheia, on the gulf of Corinth. The fines to be imposed and
the form of court by which anyone who contravenes the treaty is to be tried
are here specified. The alphabet and dialect are Locrian. The inscription runs
as follows :
i TON+ENONMEHATEN i ETA^AAEI>0^ ! TONOIAN0EAM
E>ETON YAAEIEA I ETA^OIAN0I»O^ i ME>E ^KEMATAAITI^V
AOI ! TON>E^VAONTAANATO^VAENTA+ENIKAE0AhA^A^HArEN
A^VAON I ThANENMENO^ i TOKATAPOAIN ! AIKAMKO^VA 01 ! TE
5 ; TORE^RA'iMAI ! AI>EPhEON>EKAMARANE+OITO^VAONHE
WIOA!ONOct>hETOFOTI^VhA£AI i AIMETAFOI KEOIPA EONM ENO^E
O^AbEIEV$ENOIAN9EAIEOIANOEVtENtAhEIOITAIEri>AMIAI>IKA!V
FE^TO i TONPRO+ENON : AI*EV>EAPKO+ENEOI : MPA
EIOIOOIE^TO
io AIKAN>I^AlONTITOI+ENO>IKAI : EPOMOTA^ ! H£a£^
TO i O+ENO^ : OPA<ON : TANHKAM : £ ^©O^PfcO+ENO
KAIFl[>IO+ENO : AKI$TIN>AN : EPIMENTAi^MNAIA
IAI^ : KAIFAEON : PENTEKAI>EKAN»R.A ' : EPITAI^
MEIONOI$ : ENNEANPKAS: : AlKOFA^TO^POlTONF
15 A^TONAIKAIETAIKATA^VNBOM^ : >AMIOK<0^
HEAE^TAI : TO^HOfcKOMOTA^ARI^TINDANTANPE
NTOKKIANOMO^ANTA^ : TO^HOKKOMOTA^TONAVTO
NHORKONOMNVEN : PAE©VN»ENIKEN.
Top %evov fir/ ciyeiv e ra? Xa\e$>o<? rbv OlavOea, pt-
i)Be rbv HaXetea i rd<; OtavdiBos, ptyBe ^pyj/xaTa at Tt(?) o~v
Xu> ' rbv Be crvXcovra dvdro)(^) crvXrjv ' ret ^evticd i 6a\do~(o-)a<> dyetv
davXov, irXav i Xtptevos tco Kara iroXtv ' at kuBlkco^ avXd), re-
5 ropes Bpa-^ptat ' at Be irXeov Be/c d/xapdv €")(pt to avXov, 1)-
pttoXtov bcpXerco Fort avXaaat. At pteraFot/ceot irXeov ptr/vos rj
6 XaAetet"? ev OlavOea ?) OlavOevs ev XaA.et'&> ra eirtBapttq, BtKa ^~
p7]aru>. Tbv irpb^evov, at if/euBea rrpo^eveot, BtirX-
et ot 6(pi]crrw.
At /cavBt^d^covrt rol i^evoBitcat, eiKoptoTaq eXea-
tco 6 £evo<i amdywv rdv Biicav e^0o<? irpo^evw
real FtBto^evw dptcrrivBav, eVt ptev rats ptvaia-
t'at9 zeal irXeov TrevreKatBeic dvBpas, eVt rats
5 ptetbvots ewe dvBpas. At k 6 Faaarbs 7ro(r) top F-
aarbv Bttcdtyirat /cd(r) ra9 avvfioXds, Bafitopyovs
eXearat rovs opKwptbras dptarlvBav, rdv ire-
vropKiav bptbaavras ' rovs 6p/ay/zoTa<? rbv avrb~
v op/cov bptvvetv, irXrjOvv Be vturpv.
Dimensions, 11} x 3} in. Found at Oeantheia (Galaxidi). Formerly in Woodhousc
Collection ; acquired 1896. Since the death of Mr. Woodhouse, this tablet has been in the
32 CATALOGUE OF BRONZES.
possession of Mr. Taylor, of Corfu, and his family. Gr. Dial.-inschr. ii. 1479 ; Roberts, Gk.
Epigraphy, i. No. 232, pp. 238, 354 ; Philologus, 1858, p. 1 ; Rev. des Etudes Grecques, ii.
(1889), p. 318 (with translation) ; Newton, Essays, on Art and Archaeology, p. 107 ; Hicks,
Manual of Hist. Inscr. p. 43, No. 31; Oikonomides, Aokijik^s AvenS. iirtyp. Bia^artais, 1850;
Ross, Alte locr. Inschr. 1854; Rangabe, Antiq. Hell. ii. p. 2, 356 ^ ; Roehl, /. G. A. 322,
nnd Imagg. p. 18 ; Cauer, Delectus, 1883, p. 163, No. 230 ; C. I. Gr. Sept. No. 334 ; E. Meyer,
Forsch. z. alten Gesch. 1892, p. 307 ; Michel, Recueil, No. 3. Facsimile given by Roberts, loc.
cit., with commentary.
264. Tablet. Oblong shape ; at the top, two rings for suspension. The tablet
is inscribed in archaic characters, and in the Aeolian dialect of Elis, with a
treaty between the people of Elis and the Heraeans of Arcadia. The treaty
is to be an alliance offensive and defensive for a hundred years, and in case of
its non-fulfilment by either party, a fine of a talent of silver will be levied, to be
offered to the Olympian Zeus. If anyone injures the inscription itself, he is to
pay the same fine.
AFf>ATf>ATOIf>FAr-£IOR : KAITOI*£f>
FAOIOIS : SVNMA\HAK£AEKATONF£T£A =
A>VOI>£KATOI : Alt>£TI>£OI : AIT£F£PO$AITkF
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'A F par pa rolp FaXeioii ical roh 'Hp| faooot? * awpba-^ia Kea e/carbv Ferea' |
apyot oV Ka rot ' at he re heoi, aire feVo? aire F\dpyov, avveav Ka\(\)d\oi<; ra
ra\(\a) ical ira\p irokefito ' al he /xa avveav, rdXavrov ic\dpyvpa) dirortvbiav ru>
Al 'OXvvirlu) rol /ca|(S)Sa\?/Vew)i \arpe'i(op,evov • al he Tip ra y\pd(pea rat
Ka(h)ha\eoiro, aire Fira? aire r\e\eard aire bafios, ev rrjindpoc k€v4x\oito
rol(v) ravrr] (ye)ypapi(p)evoi (or rolv ravr iypafi(p)evot).
7| x 4 in. Brought from Olympia by Sir W. Gell in 1813. Payne Knight Coll. Rose,
Inscr. Gr. Vet. pp. 29, 354; Franz, Lie m. Epigr. Gr. pp. 63, 378; Ahrens, de Dial. Aeol.
p. 225 ; Cauer, Delectus, 1877, P- 135, No- n5 5 Roberts, Gk. Epigraphy, i. p. 287; Roehl,
/. G. A. no, and Imagg. p. 29; C. I. Gr. 11 ; Gr. Dial -Inschr. i. 1149; Brit. Mus. Inscr.
157 ; Hicks, Manual of Historical Inscr. p. 7, No. 8 ; Kirchhoff, Studien* p. 162 (places date
between 500-460 B.C.) ; Newton, Essays on Art and Archaeology, p. 104 ; Olympia, v. p. 22,
No. 9 and facsimile on p. 795 (Uittenberger and Purgold) ; Class, foumal, xxxiv. p. 319;
Michel, Recueil, No. 1 ; Palaeographical Soc. Ser. 1, pi. 78. For facsimile and explanation
see Newton in Brit. Mus. Inscr. ii. pi. 1, fig. 3, and Olympia, 11. cc.
33
IV. GREEK BRONZES OF THE BEST PERIOD (460-300 B.C.)
(265-336).
A. STATUETTES, etc. (265-284).
265. Leg of Colossal Statue (of Ares ?). The right leg of an armed figure :
on it is a greave with the relief of a Gorgoneion on the knee, slightly archaic,
with curls round the forehead and cheeks, tongue protruding, and beaded
fillet ; below are two volutes. The muscles are carefully marked, and in
strict accordance with nature, even a vein being shown. With this leg were
found three fragments of drapery having a broad maeander border, originally
inlaid with silver, also ten fragments of armour. It has been suggested from the
treatment of the muscles that the figure was that of a runner, or possibly a hero
mounting his chariot; but it is more likely Ares, as represented in No. 107 1.
The date appears to be about the middle of the fifth century B.C., the style
very grand.
Ht. 2 ft. 8 in. Acquired in 1886 from M. Piot, who had purchased it at Naples in 1859.
Found in Magna Graecia, probably at Anzi or Potenza. Journ. Hell. Stud. vii. pi. 69, p. 189 ;
Gazette Archeol. 1889, pi. 16, p. 91 ; Lenormant, La Grande-Grece, i. p. 90 ; Class. Review, i.
(1887), p. 117; Murray, Handbook of Gk. Archaeology, p. 278; Builder, 23 March, 1889,
p. 226 ; Smith, Diet. Antiqs? ii. p. 261. M. Piot has left notes to the effect that this leg
was bought by Barone at an auction, and had been obtained for the auctioneer by a
shoemaker at Anzi, another source of information giving Potenza as the provenance. The
toes and the upper part of the foot are broken away ; above, the leg is broken off just above
the knee.
266. Head from Colossal Statue, perhaps Aphrodite. The hair is waved
each side, with two curls falling on the forehead, and gathered under a thick
fillet, in which ornaments have been inserted ; a ringlet hangs in front of each
ear, and another on each side of the neck. The mouth is slightly open ; the
eyes have been inlaid with precious stones or enamel.
With this head was found a left hand holding a fragment of drapery,* which,
from the style and condition of the bronze, appears to have belonged to this
statue. On these grounds it has been argued that the original was a copy of
the Cnidian Aphrodite of Praxiteles, the left hand having held the drapery at
her side, as in the statue in the Vatican. But it is by no means certain that the
head represents Aphrodite.
Ht. 15 in. From Satala, now Sadagh (near Erzingan) in Armenia Minor. Castellani, 1873.
Newton, Castellani Coll. pi. 1, and Essays in Art and Archaeology, p. 400 ; Engelmann in
Arch. Zeit. 1878, pi. 20, p. 150 ff. ; Murray, Hist, of Gk. Sculpture,- ii. pi. 24 (frontispiece)
and p. 274 ; Rayet, Monuments de Part antique, ii. pi. 44 ; Collignon, Hist, de la Sculpture
* Length ioi in. Presented by Sig. Castellani, 1875.
D
34 CATALOGUE OF BRONZES.
Grecque, ii. p. 477 ; Mrs. Mitchell, Hist, of And. Sculpture, fig. 253, p. 620 ; Brunn-Bruckmann,
Denkmaler, 55-56 ; Encycl. Br ft.9 ii. p. 362 ; T. Ely, Manual of Archaeology, p. 200 ; Ann.
delP Inst. 1880, p. 205 ; Arch. Zeit. 1874, p. 113; Gazette Archeol. 1879, p. 84 ; Portfolio, Sept.
1873, p. 130 ; Geographical Journal, viii. (1896), p. 461. The back of the head and neck has
been torn away, and a blow has crushed the metal on one side of the head ; the bronze of the
face shows signs of oxidisation. On the front of the neck two faults in casting have been
repaired by the insertion of strips of bronze. The style of sculpture is characterised by
largeness and simplicity, and may be referred to the middle of the fourth century B.C. A
report was circulated some years ago that the rest of the statue to which this head belongs
had been found at Satala ; but the site was thoroughly investigated by Biliotti and later on
by Hogarth, without obtaining any justification for the rumour.
267. Youthful Male Head, from a statue of Hypnos. The hair is parted
and waved on each side and gathered in a knot at the back, with two thick curls
falling behind each ear over a fillet ; the lips are slightly parted, and the
eyes are hollow. To each temple has been attached a wing, of which only that
on the right side remains ; it has been recognised as that of a night-hawk (cf. the
comparison of Sleep to a /cvfxivSis in //. xiv. 290). The identification of this head
as Hypnos was made by Brunn, from its resemblance to that of the statue at
Madrid {Arch. Zeit. 1862, pi. 157) ; it may also be compared with the head of
the Apollo Sauroctonos. Though found in Etruria, it may be regarded as an
original Greek masterpiece, " which reveals the qualities of Praxiteles perhaps
better than any other ancient work." In the treatment of the hair, the freedom
and flow of the lines and the perfect mastery over the material are specially
deserving of study. The head has belonged to a statue, and has been separately
made and soldered on ; this has also been the case with the wings and the two
side-tresses.
Ht. 8 in. From Civitella d'Arno, near Perugia. Castellani, 1868. Mon. deW Inst. 1856,
pi. 3, p. 25, and viii. pi. 59 ; Ann. dell Inst. 1868, p. 351 ; Murray, Hist, of Gk. Sculpture, ii.
pi. 21, p. 259 ; Collignon, Hist, de la Sculpture Grecque, ii. p. 358; Martha, VArt Etrusque,
p. 303 ; Roscher, Lexicon, i. p. 2850; Dennis, Etruria? ii. p. 413 ; Winnefeld, Hypnos, p. 9 ;
Class. Review, iv. (1890), pp. 94, 187 ; Brunn, Gdttcrideale, pi. 3, p. 26 ; Furtwaengler,
Meisterwerke, p. 648 ; id. English ed. ii. p. 395 ; Klein, Praxiteles, pp. 136, 144 ; Builder,
3 Mar. 1889, p. 226 ; Friederichs-Wolters, 1288. Pausanias (ii. 10, 2) saw a head of Hypnos
at Sikyon, but does not give the name of the sculptor.
268. Iconic Male Head. The head is slightly bearded, the eyebrows and
moustache marked by notched lines, the hair in close curls, finished with great
care and refined yet broad treatment. The lips are formed of a separate piece
of bronze, the junction of which may be traced along the edge of the lip ; they
may have been coated with a thin plate of silver. The eyes have been formed
by vitreous pastes inlaid, portions of which still remain in the sockets.
The personage whom it represents is unknown ; the type of the features
seems to be Lybian. Throughout there is a scrupulous rendering of nature, and
this bron/.e seems to be an example of that realistic school of portraiture which
GREEK BRONZES OF THE BEST TERIOD. 35
Lysippos and his followers introduced. We know that Lysistratos, the brother
of Lysippos, was one of the chief representatives of this school, and this bronze
might well be attributed to him (cf. Pliny, Hist. Nat. xxxv. 153, and Fortnum,
Bronzes in S. Kensington Mus. Introd. p. lxv.). It probably formed part of a
statue ; Newton (Guide to Bronze Room, p. 49) has suggested a King of Numidia
or Mauretania.
Ht. 12 in. Found in 1861 in the Temple of Apollo at Cyrene by Messrs. Smith and
Porcher, at a depth of eleven feet, under a mosaic pavement in the cella, togedier with some
fragments of bronze horses and other objects. Smith and Porcher, Discoveries at Cyrene, pi. 66,
p. 94 ; Gazette Archeol. 1878, pi. 8, p. 60 ; Rayet, Monuments de fart antique, ii. pi. 57 ; Brunn
and Briickmann, Gr. u. Rom. Portrdts, pis. 41, 42 ; Collignon, Hist de la Sculpture Grecque,
ii. p. 567; Murray, Handbook of Gk. Archaeology, p. 292 ; Mrs. Mitchell, Hist, of And. Sculpt.
p. 629 ; Mansell, Brit. Mus. Photographs, No. 883.
269. Marsyas, probably at the moment before picking up the flutes thrown
down by Athene. He starts back in surprise, standing on tip-toe, with 1. leg
drawn back, r. hand raised to head and 1. arm extended ; he looks down at the
flutes which have (not been preserved). He has shaggy curly hair and a long
beard ; the eyes have been inlaid.
Ht. 2 ft. 6 in. Patras, 1876. Gazette Archiol. 1879, pls- 34> 35> P- 24-1 ff- (Murray) ; Arch.
Zeit. 1879, pl- 8, p. 91 ; Murray, Hist, of Gk. Sculpture1, i. p. 260 ; Collignon, Hist, de la
Sculpture Grecque, i. p. 472 ; Rayet, Monum. de Part antique, i. pi. 34 ; Overbeck, Gesch. d.
Gr. Plastik,4 i. p. 269, fig. 73 b, p. 299, note 212 ; Mrs. Mitchell, Hist, of A?ict. Sculpt, p. 291 ;
Frazer, Pausanias, ii. p. 292 ; Von Sybel, Athene u. Marsyas, p. 15. Tail, part of left forefinger,
and great toe of left foot broken off. This work appears to date from the fourth century B.C.,
but the motive is no doubt derived from the statue attributed by Pliny (H. N. xxxiv. 57) to
Myron ; cf. Paus. i. 24, 1. For other representations, see G. Hirschfeld, Athena u. Marsyas
(30'" Winckelmannsfestprogr., 1872), and Overbeck, loc. cit. For the motive compare No.
1388, and a Satyr on the vase E 102 in Brit. Mus.
270. Apollo. He is nude and beardless, and his hair is parted in front and Plate II.
twisted round a fillet, the ends being gathered up in a knot at the back ; he
stands on r. leg, with 1. leg drawn back ; the r. arm has been extended, and
the 1. has held a bow or other object. The eyes have been inlaid with silver or
some other material.
Ht. 5f in. From Armento. Bequeathed by Sir W. Temple, 1856. Right hand lost.
Good work, rather archaic, especially in the treatment of the hair ; may be assigned to about
460 B.C.
271. Apollo. He stands with 1. leg crossed over r., looking to his 1. ; his hair Plate V.
is waved and rolled up each side, falling in ringlets over each shoulder and in a
mass down the back, tied at the neck ; he wears sandals.
Ht. 8| in. Thessaly, 1879. Klein, Praxiteles, p. 164. A similar figure in Dresden
(fahrbuch, 1889, Anzeiger, p. 105), which according to Klein {pp. cit. p. 127) was also found in
Thessaly. Both arms lost ; fine patina.
D 2
36 CATALOGUE OF BRONZES.
272-281. The Paramythia Bronzes.
[On the bronzes from Paramythia (272-281, 287, and 1446) see Spec. Ant. Sculpt, ii.
p. lxv. ; Kohler, Gesammelte Schriften, vi. p. 33 ff. ; Edwards, Lives of the Founders of the
Brit. Mus. i. p. 407 ; and Michaelis, Ancient Marbles in Gt. Britain, p. 118.]
272. Apollo. He bends slightly forward to 1., with 1. foot drawn back, and Plate V.
hands extended downwards, as if stringing his bow. He is nude and beardless,
and his hair is tied in a bow in front, waved round the head, and gathered in a
knot at the back ; the front hair is plaited along the top of the head, and tied at
the end in a club.
Ht. gl in. Found in 1792 at Paramythia in Epirus. Payne Knight Coll. (v. 2). Spec.
Ant. Sculpt, i. pis. 43, 44 ; Clarac, Musee de Sculpt, iii. pi. 485, fig. 936 ; Braun, Kunst-
mythologie, pi. 39, p. 24 ; Overbeck, Kunstmythol. {Apollo), p. 223 ; Mansell, Brit. Mus.
Photographs, No. 739. Left hand broken. Fine patina.
273. Mask of Apollo, full face. The hair spreads round the face in thickly-
clustered waving curls ; the pupils of the eyes are incised ; over the forehead
is a fillet. Round the edge of the disc are incised rings.
Diam. 3} in. From Paramythia. Payne Knight Coll. (v. 3). An inaccurate reproduction
given in Antiquities of Ionia, pt. 2, p. xiv., vignette. The surface has suffered from over-cleaning
and tooling.
274. Poseidon (?). He stands with r. leg slightly drawn back, r. arm raised, Plate VI.
and 1. hand extended with open palm ; he has richly-curled hair, beard, and
moustache. The r. hand may have held a trident, the 1. a phials or a dolphin.
Ht. 8| in., with base iof in. From Paramythia, Epirus. Towneley Coll. Spec. Ant.
Sculpt, i. pi. 32 ; Clarac, Musee de Sculpt, iii. pi. 402, 684 ; Braun, Kunsttnythologie, pi. 13,
p. 9 ; Murray, Hist, of Gk. Sculpt, ii. pi. 10, p. 342 ; id. Handbook of Gk. Archaeology, pi. 20,
p. 290; Kohler, Ges. Schriften, vi. p. 37 ; Overbeck, Kunstmythol. {Zeus), p. 153 ; fount.
Hell. Stud. iii. (1882), p. 242. Ancient high moulded base. Right fore-arm. thumb of left hand,
and toes of right foot lost. Fine dark-green patina. This figure has also been identified as
Zeus ; it probably belongs to the school of Lysippos. A similar statue from Paramythia, now
at Constantinople, has been published by Collignon in Bull, de Corr. Hell. ix. (1885), pi. 14,
p. 42, and identified by him as Zeus.
275. Zeus. Somewhat similar to Poseidon ; 1. foot drawn back, but r. hand Plate VII.
extended and 1. hand raised. Over his r. arm is a small chlamys ; the eyes have
been inlaid with silver. The r. hand may have held a thunderbolt.
Ht. 7 \ in. From Paramythia. Payne Knight Coll. (liii. 5). Spec. A tit. Sculpt, i.
pis. 52, 53 ; Clarac, Musee de Sculpt, iii. pi. 403, 687. Light green patina. Both hands
and feet much injured.
THE PARAMYTHIA BRONZES. 2>7
276. Zeus Serapis. He is seated with 1. arm (now lost) extended, and has
rich curly hair and beard, high polos, long chiton, himation over lower limbs,
chlamys over 1. shoulder, and sandals.
Ht. 6^ in. From Paramythia. Payne Knight Coll. (lxxviii. i). Spec. Ant. Sculpt.
i. pi. 63 ; Clarac, Musie de Sculpt, iii. pi. 398, 670; Overbcck, Kunstmythol. {Zeus), p. 314,
No. 11 j Lafaye, Culte des Divinitis d? Alexandrie, p. 274, No. 33 ; Jourti. Hell. Stud. vi.
p. 295. Left foot and both arms lost ; also the seat. The head resembles that of the
Otricoli Zeus.
277. One of the Dioscuri, probably Castor. He stands with 1. leg drawn Plate VI.
back, and face slightly upturned to his right ; he is beardless, with rich curly
hair, conical cap, and chlamys doubled on 1. shoulder, passing over 1. fore-arm.
His r. hand is slightly advanced ; both hands appear to have held something,
and from the action of the 1. hand, he may have been leading a horse. In
the cap, over the centre of the forehead, is a hole in which has probably been
fixed a star. The eyes have been inlaid with silver. The figure is dignified,
the style and execution good.
Ht. 13 in. From Paramythia. Payne Knight Coll. (xxix. 1). Spec. Ant. Sculpt, ii.
pi. 22; Clarac, Musie de Sculpt, v. pi. 834 B, 2041 A ; Roscher, Lexicon, i. p. 1175 (s.v.
Dioskuren) ; Mansell, Brit. A/us. Photographs, No. iyj. The second finger of right hand
lost ; dark green patina.
278. Ganymedes (?). He stands on 1. foot, with r. leg drawn back and r. hand Plate VII.
raised ; he is beardless, with thick curls tied in a bow over the forehead, sandals,
and upper and under chiton reaching to the knees, with broad girdle and
looped-up sleeves with silver studs.
Ht. 9 in. Found in 1792 at Paramythia with No. 272. Payne Knight Coll. (xxxvii. 1).
Spec. Ant. Sculpt, ii. pi. 24. Left fore-arm lost. Compare the types of Lares (Nos. 1 562-1 580).
279. Dione or Aphrodite. She stands with 1. leg advanced and 1. hand Plate VI.
extended palm downwards, wearing a fillet, sandals, and long sleeved chiton
with studs on the sleeves, which has slipped off her 1. shoulder ; her hair is
parted and waved, and gathered in a knot at the neck, falling in two ringlets on
each shoulder ; over her 1. arm and lower limbs is a himation, and on her head
rests a dove with outspread wings as if brooding. The eyes are inlaid with
silver ; the r. hand probably held a spear, the 1. resting on a shield (?).
Ht. 12 in. From Paramythia. Payne Knight Coll. (xxviii. 3). Spec. Ant. Sculpt, ii.
pi. 23; Clarac, A/ usee de Sculpt, iv. pi. 593, 1290 A; Kohler, Gcs. Schriften, vi. p. 35;
Bernoulli, Aphrodite, p. no; Mansell, Brit. A/us. Photographs, No. 738. Right arm lost
and left hand injured. The twisted folds of the himation below the waist in front were modern,
but this restoration has been removed (cf. the illustration in the Spec. Ant. Sculpt.).
280. Aphrodite. She stoops forward, as if to adjust her left sandal, with 1. Plate VII.
leg raised and bent, and 1. hand raised, the fingers bent as if having held some
33
CATALOGUE OF BRONZES.
object for support ; her hair is parted and rolled up on either side, and she wears
a sphendone.
Ht. 6| in. From Paramythia. Payne Knight Coll. (xc. 4). Clarac, Muse'e de Sculpt, iv.
pi. 628, 1354 A ; Vaux, Handbook to Brit. Mus. p. 428 ; Bernoulli, Aphrodite, p. 332, No. 17 ;
Pottier and Reinach, Necropole de Myrina, i. p. 286, No. 14. Right arm, two fingers of left
hand, and both legs from the knees lost ; good patina.
28l!. RIGHT ARM OF STATUETTE. Length 7f in. From Paramythia. Payne Knight
Coll. See Spec. Ant. Sculpt, ii. p. lxvi. The third finger lost. Found with the Dione, No. 279.
2812. FOOT OF ANIMAL, perhaps a bull. Length 2§ in. From Paramythia. Payne
Knight Coll. See Spec. Ant. Sculpt, ii. p. lxvi.
282. Aphrodite, of the type known as Euploia. She stands on r. foot, lifting
her 1. foot and bending the body forward, as if to fasten or unfasten her
sandal, which, however, is not represented ; she is nude, and her hair is gathered
under a fillet and rolled up at the back.
The original motive of this figure is known by a comparison of a number of
extant repetitions of the same composition ; the left arm rests on a column or
rudder. This bronze is distinguished from the other examples by its greater
beauty, more especially in the countenance.
Ht. 2i| in. Said to have been found near Patras, and obtained from Athens, 1865
perhaps found at Olympia. Gazette Archeol. 1875, P^ l3> P- 61 ; Collignon, Hist, de la Sculpture
Grecque, ii. p. 585 ; Klein, Praxiteles, p. 298 : Mansell, Brit. Mus. Photographs, No. 736
Bernoulli, Aphrodite, p. 332, No. 16 ; Arch.Zeit. 1867, Anzeiger, p. 134; Pottier and Reinach
La Necropole de Myrina, i. p. 286, No. 13 ; cf. Friederichs, Kleinere Kunst u. Industrie
No. 1841. Marble statuettes of this type have been found in Cyrene (Smith and Porcher.
Discoveries, p. 96), Crete (Spratt, Crete, i. p. 72), Rhodes, Cos, and Calymnos ; the type also
occurs on the copper coins of Aphrodisias in Caria {Brit. Mus. Cat. of Coins (Caria), pi. 5,
14), and on a marble vase in Visconti, Opere Varie, i. pi. 8. Bernoulli, loc. cit., collects all
the known examples ; see also Pottier and Reinach, loc. cit. Both arms are lost, and a large
piece is broken out of the back ; the surface is in poor condition.
283. Head of Hermes. Apparently from a fourth-century statue ; hair in
short crisp curls, of Lysippian type ; nose and mouth very delicately executed ;
the eyes have been inlaid. The simplicity and beauty of the treatment in this
bronze make it probable that it is a fragment from a statue of the best period
of Greek art.
Ht. 6£ in. Payne Knight Coll. (lx. 21) ; formerly in the Cabinet of the Due de Chaulnes.
Spec. Ant. Sculpt, i. pis. 18, 19 ; Mansell, Brit. Mus. Photographs, No. 878. The back of
the head, as far as the ears, is broken away ; good patina.
284. Silenos Kistophoros. The figure stands on a triangular base like the
Nike at Olympia, and forms the lower part of a candelabrum, of which only a
calyx of leaves forming a base now exists. He wears an ivy-wreath, drapery
twisted round his loins, and sandals ; his r. hand is held downwards, and with 1.
he supports the cista, which is of wicker-work (represented by incised patterns),
THE SIRIS BRONZES. 39
and rests on a pad on his head. The base stands on three lion's claws, and is
ornamented with palmettes and volutes in relief and branches incised.
Ht. 2ft. 7 in. From Aegion, 1869. Michaelis, Ancient Marbles in Gt. Britain, p. 614.
Much corroded. The type closely resembles that of a marble statue at Petworth (Spec. Ant.
Sculpt, i. pi. 69) ; cf. also a Pompeian wall-painting in Mus. Borb. xii. pi. 8. The bronze may-
have been part of a choragic monument dedicated on the occasion of a dramatic victory ;
the cista resembles that used in the Dionysiac mysteries.
B. RELIEFS (285-311).
The S 1 r 1 s Bronzes.
285. These famous works of art form two groups embossed in very high relief, Plate VIII.
and were anciently attached to a cuirass, as ornaments to cover the clasps by
which the breast-plate and back-piece were united on the shoulders. In each
group is represented a combat between a Greek warrior and an Amazon.
In that belonging to the r. shoulder, a bearded Greek warrior to r., with helmet,
shield on 1. arm, and chlamys over 1. arm floating behind, presses 1. knee into
the r. side of an Amazon, while his 1. hand grasps her by the head. She kneels
to the front, inclining to r., with head twisted round to 1., and wears a short girt
chiton and endromides ; her shield lies on the ground beneath her. The right
half of the face of the Greek has been broken away, owing to the extreme
delicacy and thinness of the bronze surface. The scene probably represents
Achilles slaying Penthesileia ; the rarer subject of Ajax Oi'leus slaying Derinoe
has also been suggested (after Quint. Smyrn. i. 258).
The other group is similar, except that the Greek stands to 1., and is bearded ;
the Amazon falls to 1., holding up a shield on 1. arm as a defence. At their feet
is another shield with incised patterns, and below is a lion's mask in relief. The
name of Ajax, son of Telamon, has been suggested for the figure of the Greek.
Ht. of the first group, 6| in. ; of the other, 7 in. Found near the river Siris (?) in 1820 ;
purchased by public subscription and presented to the Brit. Mus., 1833. Brondsted, The
Bronzes of Siris (Dilettanti Soc, 1836 ; also a German ed«.), with plates ; the second group
in Mrs. Mitchell, Hist, of And. Sculpt, p. 528, Selections, pi. 12, fig. 3 ; American Journal of
Archaeology, i. pi. 6, p. 162 ; and Murray, Handbook of Gk. Archaeology, p. 233 ; Baumeister,
Denkmaler, iii. p. 2032, figs. 2204, 2205 ; Smith, Diet. Antiqs. ii. p. 79; Vaux, Handbook to
Brit. Mus. p. 43 2-3 ; Murray, Hist, of Gk. Sculpt, ii. p. 334 ; Lenormant, La Grande Grcce,2 i.
p. 447 ; Michaelis, Ancient Marbles in Gt. Britain, p. 152 (discusses provenance) ; Waagen,
Treasures of Art in England, i. p. 93 ; Miiller, Ancient Art, p. 271 ; Builder, 16 March, 1889,
p. 204. The inner edge of each group is much injured. Traces of gilding may be observed.
The parts where the relief is highest, such as the faces, appear to have been made separately
and attached.
These two groups have been long celebrated as the finest extant examples of toreutic
work. In them, as has been observed by Brondsted, "although the relief is extremely
prominent, so that some of the most salient parts, as the hands, the thighs, the knees of the
figures, their shields, and some portions of their draperies, appear almost to be detached from
4-0 CATALOGUE OF BRONZES.
the ground ; nevertheless all is gained upon the plate itself, which proves that the ancients had
an extraordinary skill in this kind of workmanship. The parts less convex are generally-
more massive, and more furnished with metal, than those which have a greater projection.
Where the relief is very strong, as for instance in the heads, the plate is reduced to the thick-
ness of a sheet of thin writing paper, and on the reverse we observe cavities nearly an inch
deep."
Nothing can be more masterly than the composition of these reliefs ; the action of the
two groups corresponds without monotonous repetition ; the figures, where the surface has been
preserved, are modelled with consummate knowledge and refinement of execution carried out
into the smallest details, recalling Pliny's remarks on Lysippos, argutiae open's in minimis quoque
rebus custoditae (Hist. Nat. xxxiv. 65), while the effect of either composition justifies the criticism
of Thorwaldsen, who said that " in his judgment these bronzes afforded the strongest possible
proof of this truth, that the grandiose does not consist in mere mass, since these diminutive
works are truly great, while many of the modern colossal figures are, notwithstanding their
dimensions, petty and mean."
Michaelis in Lutzow's Zeitsch rift fit r bildende Kunst, xiv. (1879), p. 141, throws consider-
able doubt on the generally-received statement that the bronzes were found near the river Siris ;
but no doubt they came from a tomb somewhere in the Basilicata. Brondsted acquired them
from a dealer in Naples. They were probably executed by some artist of the school of Scopas,
about the latter half of the fourth century B.C. ; the style much resembles that of the Mausoleum
frieze.
286. Heroic Figure. A figure of a hero in a semi-reclining attitude, Plate VIII.
modelled almost in the round ; he is beardless and wears a himation over the
lower limbs ; the feet rest on a rock, the 1. being slightly raised. Two holes are
bored in the drapery for attachment to some object, probably a vase ; the eyes
are inlaid with silver. The treatment of the folds of drapery and of the short
curls of hair is very fine ; the length of the body and modelling of the head and
hair justify the attribution of this figure to the time of Lysippos.
Ht. 6Jin. Found in the Lago di Bracciano. Castellani, 1873. Murray, History of Ck.
Sculpture, ii. pi. 33, p. 345 ; Arch. Zcit. 1884, pi. 2, fig. 1, p. 21 ; Mrs. Mitchell, Hist, of
A net. Sculpture, p. 529, and Selections, pi. 12 ; Encycl. Brit? ii. p. 361 ; Mon. deW Inst.
Suppl. pi. 26, fig. 3 ; Arch. Zeit. 1874, p. 113 ; Revue Archeol. xxviii. (1896), p. 295. Right
hand and left arm lost ; very fine light green patina.
287-303- Greek Mirror-Cases.
287. Cast of Bronze Relief, probably from a mirrcr-case. Aphrodite
and Anchises : Aphrodite is seated to 1., turning round and drawing her veil
back with r. hand ; her hair is tied back, and she wears earrings, necklace, brace-
lets, and himation over lower limbs, wrapped round 1. arm. Behind her is an
Eros with wings spread ; on the 1. is another Eros seated to 1., looking to r., with
wreath over forehead, and anklets, clasping r. knee with r. hand. On the r. is
Anchises seated to 1., with r. hand thrown back behind his head, in a Phrygian
costume consisting of cap, short girt loose chiton with empty hanging sleeves,
jerkin and anaxyrides in one piece, with long sleeves and patterns of rings, and
shoes ; his hair is arranged in long formal curls, like the icepas of Paris (//. xi.
385). Beneath him is a dog curled up to 1.
GREEK MIRROR-CASES. 4 1
Presented by F. T. Palgrave, Esq., 1891. The original was found at Paramythia in
Epirus in 179S, and is engraved in Spec. Ant. Sculpt, ii. pi. 20, and Muller-Wieseler, Denkm.
d. a. Kunst, ii. pi. 27, 293 (reversed) ; it is now at Bignor l'ark, Sussex (see Michaelis, Ancient
Marbles in Gt. Britain, p. 212).
288. Mirror-Case and Cover. On the cover is a relief of a youth seated Plate IX.
on a rock to r., with r. leg crossed over the 1., long hair, and drapery under
him and over 1. arm ; he holds out a cock in both hands to a girl seated before
him. She holds a bird in 1. hand, and her r. is placed on her knee ; her hair is
gathered up at the back, and she wears long chiton, himation over 1. arm and
lower limbs, and sandals. At her further side is Eros to the front, looking at
the youth, with hair gathered in a knot.
Inside the mirror-case is an incised design : A youth with long hair, seated
to 1. on a rock covered with drapery, endeavours to remove the drapery of a
Nymph seated facing him. She has long curls, anklets, and drapery over her
knees, which she holds in its place with r. hand, while her 1. is extended to the
youth. The scene takes place in a cave. The composition is very beautiful, and
great skill is exhibited in the drawing.
Diam. 7 in. From Greece, 1891. The head of the girl on the cover is much broken, and
the whole design much corroded. Both conceptions are very fine, and belong to the early part
of the fourth century ; the scene on the cover seems to be an idealisation from ordinary life.
The reliefs are very high, and the bronze in some places has been beaten out to such a fineness
that it is broken, like one of the heads on the Siris bronzes. At the top of the cover is a hook
for suspension. For the design on the cover, cf. Bull, de Corr. Hell. ix. (1885), pi. 8, p. 249.
289. Mirror-Case with Cover. Outside the cover was a relief, now separately
shewn, representing Phaedra declaring her love for Hippolytos (cf. Eur.
Hipp. 198 ff. and Brit. Mus. Cat. of Vases, iv. F 272) : Phaedra is seated to
r. on a four-legged stool with cushion ; she has long curls, long chiton, himation,
silver necklace, bracelet on r. arm, and sandals ornamented with silver ; her
chiton has slipped down her 1. arm, leaving 1. shoulder and breast bare, and
she holds out the edge of her himation in both hands ; her 1. leg is drawn
back. At her further side is an attendant (or perhaps a woman of Troezen)
moving away to r., looking back, with hands raised as if in surprise or horror ;
her hair is waved in front, and she wears earrings, necklace, and bracelets, all of
silver, long chiton and himation, and sandals as Phaedra. Behind Phaedra is
Eros hovering to r., with hair waved and wings addorsed, r. hand extended to
her head ; with 1. he appears to be assisting her to unveil herself, to the horror
of her attendant.
On the lower side of the cover is an incised design, representing Aphrodite
and Aegipan playing at the game of irevre \1601, : Aphrodite is seated to 1. on a
bench, turning round to r., with 1. hand placed on the bench and r. hand
extended with first finger pointing to the five stones ; she wears a close cap,
earrings, bracelets, himation over lower limbs, and shoes. At her r. side is a
small androgynous figure of Eros holding out r. hand to her. Before her on
42 CATALOGUE OF BRONZES.
the bench squats Aegipan, holding up r. forefinger and extending 1. hand ; he
has large goat's horns, and long hair and beard. Below the table is a swan to r.
Diam. 7} in. Corinth, 1888. Murray, Handbook of Gk. Archaeology, pp. 124, 228 ; Builder,
23 Feb. 1889, p. 145, and 16 Mar. p. 204 ; Dumont-Pottier, Les Ceramiques de la Grece propre,
ii. p. 246, No. 19-20. The hinge of the cover has an incised palmette and volutes on the flap
and engrailed edge. Both conceptions are very fine, and the drawing of the incised design
is excellent.
290. Mirror- Case. On the top is a relief of Nike sacrificing a bull:
Nike kneels to r., pressing 1. knee into the r. shoulder of the bull, which lies on
the ground to r. ; with 1. hand she seizes the muzzle of the bull, forcing its head
back, while her r. hand has held the sacrificial knife, which she is about to
plunge into its throat. She has curly hair tied in a knot with floating ends,
long girt chiton fastened on the shoulders with apoptygma reaching to the knees,
and sandals ; her wings are outspread behind.
Diam. of mirror-case, 5I in. ; height of relief, 4} in. Megara, 1885. Journ. Hell.
Stud. vii. pi. D, p. 275 ff. ; Murray, Handbook of Gk. Archaeology, p. 227 ; Dumont-Pottier,
Les Ch -antiques de la Grece propre, ii. p. 246, No. 21. The case is very highly polished
underneath. Cf. other examples in Journ. Hell. Stud. I. c. pi. E ; the type seems to be
deiived from the Victories on the balustrade of the temple of Athena Nike.
291. Mirror, with case and cover. On the cover is an emblema with relief of Plate XI.
Artemis striking down a young giant : Artemis is to the front, turning to r ,
holding a burning torch downwards in r. hand, with which she attacks the giant,
grasping his hair with her 1. hand ; she wears a long girt chiton with apoptygma,
chlamys floating behind her, and sandals. The giant kneels on 1. knee to r. and
turns to look up at her, holding up 1. hand in supplication ; he wears a skin over
1. shoulder, and in r. hand is a short staff (?).
Diam. b\ in. Malessina or Eretria, 1894. For the type, compare the figures of
Phoibe and Hecate in the Pergamene frieze (Beschreibung der Skulptureu. Berlin, 1895,
pp. 21, 22). The case has a hinge attached, and two handles, large and small.
292. Mirror-Case, with emblema on the cover. On the inner side of the cover
is an incised design within a band of scale-pattern : Eros moving to 1., with
wavy curls, chain of beads over r. shoulder, bracelets, and wings spread, in r.
hand a situ/a, in 1. an amphora of elongated shape ; rocky ground.
The emblema represents Aphrodite seated to 1. on a rock, with hair
gathered up at the back, necklace, long girt chiton, himation over lower limbs,
and sandals ; her 1. hand rests on the rock and holds up her himation. Before
her stands Eros to the front, looking at her ; his hair is tied in a knot behind,
the ends hanging down, and his 1. leg is crossed over the r.
Diam. 5 in. Crete, 1875. Gazette Archeol. 1876, pi. 27, p. 107 ; Woltmann and
Woermann, History of Painting, p. 88 ; Dumont-Pottier, Les Ceramiques de la Grece propre,
ii. p. 197. The cover is much broken round the edge.
GREEK MIRROR-CASES. 43
293. Mirror-Case with relief representing Heracles and the Nymph
Nemea : Heracles stands to 1., with head bent forward ; he is beardless, with
myrtle-wreath, club in 1. hand, lion's skin over 1. arm, and quiver at back ; his r.
arm is grasped by Nemea, whose r. arm he supports in his r. hand. She has
long flowing curls, part of which are tied at the back, and himation hanging
from the shoulders in graceful curves ; she is seated to r., with r. leg extended
and 1. leg drawn up, and raises her 1. hand over her head.
Diam. ~]\ in. Corinth, 1892. Execution rather careless, and inferior to the design. The
handle and hinge by which it was attached are still existing.
294. Mirror- Case. On the cover is an emblema with relief of Hermes Plate X.
seizing a Nymph : Hermes to 1. seizes with 1. hand the outstretched 1. arm of
the Nymph, placing his r. behind her back ; he wears a petasos and chlamys
floating behind. The Nymph struggles to free herself, and with r. hand holds
up her himation as a veil over her head ; it hangs down to her feet behind her ;
she has thick wavy hair.
Diam. t\ in. Corinth, 1895. Round the cover, guihoche pattern. Large handle
remaining.
295. Mirror-Case. Inside is an incised design representing a Maenad
moving to r., with face to front and head thrown back ; she wears an ivy-wreath
and flowing drapery over 1. shoulder and r. arm, leaving the front of the body
bare, and falling to the feet, and shoes ; in r. hand she holds out a thyrsos round
which is tied a sash, and in 1. she holds a tambourine.
On the cover is a relief of a female figure holding up a Satyric mask to
frighten a boy. This relief has been so much restored that very little of the
ancient part now remains.
Diam. 6~ in. Corinth, 1873. Monuments Grecs, 1873, P- 29> r°te 1 ; Bull, de Corr.
Hell. i. 1887, p. 109. The interior design is plated with silver. The handle of the cover
remains (dimensions 2^ X 2 in.).
296. Cover of Mirror-Case. On the cover is a relief of a Greek and
Amazon in combat : The Greek is to the front, moving away to 1., with sword
held point upwards in r. hand and shield on 1. arm with which he defends
himself against the Amazon ; she wears a Phrygian cap, short girt chiton, and
sleeved under-garment, and brandishes a club in both hands behind her head,
to strike the Greek.
Diam. 8f in. Castellani, 1873. Much injured and corroded.
297. Cover of Mirror-Case. Relief of Nike seated on a rock to 1.,
head turned to r., with himation over lower limbs, and shoes, wings spread, 1.
arm resting on rock and holding up her drapery, and r. hand raised to her head
as if to fasten up her hair.
Diam. 5f in. From Athens or Corinth. Castellani, 1873. Much broken and corroded.
Hinge of case still remaining.
44 CATALOGUE OF BRONZES.
298. Mirror-Case. On the cover is an embossed relief representing a Plate X.
woman seated to 1. before a tomb in the form of a high stclt, on which
at the top is a relief of two draped figures conversing in a shrine. Her
hair is tied in a knot at the back, the ends hanging down, and she wears a
long chiton, himation over lower limbs, and sandals. In front of her is an
incense-burner, of which only the upper part is now visible, but the spreading
base remains ; her r. hand, now lost, was extended, pouring incense on the
incense-burner, and in 1. hand she holds a thurible or incense-box. A
Gorgoneion is attached to the front of the square block on which she sits ; and
a small handle for the case is below her feet.
Inside the cover is incised a star of sixteen points, the spaces between the
rays being covered with a thin plating of silver.
Diam. 6-£- in. Corinth, 1873. Monuments Grecs, 1873, p. 29, note 1 ; Bull, de Corr. Hell.
i. (1877), p. 109.
299. Mirror, with cover attached by hinge. On the cover is a female head
in relief, to the front, looking slightly to her 1., with hair gathered in a top-knot
on the forehead and extending all round the head in snake-like curls ; the eyes
are inlaid with silver, the pupils filled with some substance now wanting, and
round the neck is a silver necklace ; the chiton reaches to the base of the throat.
Diam. 6£ in. Corinth, 1868. Dumont-Pottier, Les Ceramiques de la Grcce propre,'i\.
p. 246, No. 17. Corroded.
300. Cover of Mirror-Case. Head of a Maenad turned slightly to 1. ;
she wears a fillet and luxuriant wreath of vine and ivy leaves with clusters of
berries, and a silver necklace. Attached to her 1. ear is a silver earring formed
of a bunch of grapes and vine-leaves ; the eyes are inlaid with silver, the pupils
hollow.
Diam. J| in. From Corinth. Castellani, 1873. Corroded and slightly injured.
301. Mirror-Case. Female head to 1., probably of a goddess, looking
upwards, with hair gathered into a single plait hanging down the back, and
head-band ornamented with wave-pattern engraved.
Diam. 5} in. Corinth, 1867. Dumont-Pottier, Les Ceramiques de la Grcce propre, ii.
p. 246, No. 18. Rather corroded.
302. Mirror-Case with cover. On the cover a female head to 1., slightly
upturned, with hair waved and tied in a knot behind, the ends hanging down ;
on the neck is a necklace, and the top of the dress, to which is attached a square
rosette, probably part of the hinge, is visible.
Inside the case is a rosette of sixteen points, surrounded by an olive-wreath ;
the design is covered with a thin plating of silver.
Diam. 6J in. Corinth, 1873. Bull, de Corr. Hell. i. (1877), p. 108; Monuments Grecs,
1873, P- 29, note 1.
GREEK RELIEFS OF BEST PERIOD. 45
303. Mirror with stand. Round the mirror is a border of Lesbian cymation inlaid
with silver, and on the top an open-work relief of four-petallcd flowers and
foliage, in the middle of which are two Erotes, holding between them a crater
with ribbed body ; the Eros on the right is seated, the other leans forward. The
back of the mirror is in the form of a four-spoke wheel, or rosette ; and in the
middle of the curved top of the stand supporting the mirror is a palmettc.
The stand forms an open-work rectangular frame for a relief, representing
Aphrodite and Adonis (?) ; on either side are tendrils, and above, two clusters
of grapes and small birds. Adonis kneels on r. knee to the front, grasping with
r. hand a rock, and raising his bent 1. arm under his chlamys as a shield (a
well-known Gigantomachia motive) ; he wears a chlamys fastened in front, and
endromides. He looks up to r. beyond Aphrodite ; she looks down upon him,
supporting him under the r. shoulder with her r. arm. Her hair is waved and
rolled each side under a fillet, and her drapery, which she holds over herself
with her 1. hand, appears to be blown out behind by the wind. Below the frame-
work is an acanthus plant.
Ht. 19 in. From Locri in Southern Italy. Castellani, 1865. Arch. Zeit. 1870, pi. 32,
p. 45 ; Bernoulli, Aphrodite, p. 399. Fine light-green patina on back of mirror. On mirror-
stands of this type, see Stark in Ber. d. k. sacks. Gesellsch. i860, p. 11.
304. Girl feeding Bird ; repousse relief. She stands to 1., holding out a
fruit in r. hand to a peacock (?) before her, which looks up expectantly ; on the
extreme 1. is an olive-tree, from which she may have just gathered the fruit. She
wears a long chiton, himation over r. shoulder, and sandals ; her hair is arranged
in parallel waves and tied at the back ; her 1. elbow rests on a square pillar, the
hand holding a wreath.
Ht. 5f in. From Zaverda (Crocilea), Acarnania. Woodhouse Coll., 1868. The lower
part of the bird and part of the girl's drapery are lost. At the bottom are two holes for attach-
ment of the relief ; in one is an ancient ring. Style of fourth cent. B.C. Good patina.
305. Fragment of repousse relief. Heracles in combat with an Amazon:
Heracles to front with face to 1., beardless, with short curly hair, lion's skin over
arms, and bow in 1. hand, raises his club in r. hand over his head, to strike at
the Amazon, of whom only part of the drapery, and a 1. arm in a sleeve, raised
to arrest the blow, are visible.
3! in. x i\ in. 1877. From Grumento, Basilicata (according to Bull, dell' Inst, i860,
p. 70, from Armento). Mon. dell' Inst, ix., pi. 31, fig. 2 ; Annali, 1871, p. 136. Good patina •
fine style.
306. Repousse relief. On a rectangular piece of bronze: Eros to the front,
with chlamys over 1. arm and wings spread, holding up a thyrsos in r. hand.
6| in. x \\ in. Castellani, 1873. Very much injured ; the lower part nearly all gone
also much corroded. The relief is beaten out to a remarkable thinness.
307. Relief, with four fragments broken off. A female figure kneeling (?),
turned partly to 1., with hair in rich waves and curls on the neck, long girt
46 CATALOGUE OF BRONZES.
chiton and apoptygma fastened on the shoulders, and r. hand extended holding
some object. In the background on the I. is seen a wing, belonging to another
figure, of which only a small part is preserved.
Ht. 3f in. Burgon Coll. ; obtained at Naples, 1814. Much broken and corroded.
Perhaps from a mirror-case.
308 Repousse Relief, in three fragments : Eros playing with a goose. Eros
bends forward to r., and places r. hand on the body of the goose, which stands
to r. ; his 1. arm, on which is a chlamys, is extended.
Ht. 3! in. From Naples ; obtained in 1814. Burgon Coll. Much injured. Fourth, or
perhaps fifth century style, with finely rendered details ; good patina. A similar group in the
Louvre, probably a pendant from the same work. Compare the type of the Genius with cocks,
and for the rendering of the feathers on the back, Thanatos on the Brit. Mus. vase, D 58.
309 Fragment of repousse relief. The upper part of Psyche in long girt Plate XI.
chiton, with hair arranged in parallel waves under a close cap and spheudone,
ornamented with volutes and dots, 1. hand extended. At her r. side is the r.
arm of Eros, whose r. hand is placed on her neck.
Ht. 2 J in. Kyme, Aeolis, 1877. Probably part of an emblema from a mirror case ; in
the finest Greek style. It may be copied from the group published in Arch. Zeit. 1884, pi. 1
(of. No. 313).
310. Relief from large hydria. Boreas carrying off Oreithyia : Boreas is
to the front, bearded, with rough hair, chlamys fastened with a brooch at the
neck and wrapped round body, and endromides laced, wich diaper patterns
incised, the tops turned over and vandyked ; wings spread so as to form a
background. He has raised Oreithyia from the ground with 1. arm round her
waist, her head falling over to r. ; she has long streaming curls, bracelets, and
long girt chiton fastened on the shoulders ; her r. arm is extended behind Boreas'
head, and her 1. hand raised to her own head, with a despairing gesture.
Ht. 5f in. Acquired 1873 ; found in a tomb in Calymnos in 1855 by Sir C. Newton.
Newton, 'travels and Discoveries in the Levant, i. pi. 15, p. 330 ; Bull. deW Inst, i860, p. 70.
The relief was originally gilt ; the execution is inferior to the design. The side handles of the
hydria were also found. For the subject see Roscher, Lexicon, s.v. Boreas ; Harrison and
Verrall, Ancient Athens, p. lxxiv. ff. Boreas' left leg is broken across above the ankle.
311. Relief, probably from a hydria, similar to the last. Dionysos and pLATE XI.
Ariadne : on the 1. is Dionysos to the front, beardless, with curly hair, wreath,
and transparent himation over lower limbs, the end of which is thrown over
his 1. shoulder ; his 1. leg is crossed over the r., and 1. hand rests on a low stele ;
in r. hand he holds a cornucopia, in which are bunches of grapes. He looks
round at Ariadne, who turns to him and places r. hand on his r. shoulder from
behind ; her hair is waved and hangs in curls on the neck, and she wears long
chiton, the sleeves fastened with a single stud, himation over lower limbs, and
sandals ; in 1. hand she draws aside the edge of a veil which covers the back of
her head (as Hera frequently). The moment represented is that of the wedding
of Dionysos and Ariadne, symbolising the annual return of the vintage-season.
GREEK BRONZES OF BEST PERIOD. 47
Ht. si in- From Chalke, near Rhodes, 1889. Class. Review, iv. (1890), p. 71. Slightly
corroded ; the top of Ariadne's head is lost. Fine fourth-century style ; the face, forms, and
attitude are full of the grace which characterised Greek art of this period, and the draperies
are studied with excellent taste. The handles, lip, and foot of this vase are preserved ; they
resemble the following example.
C. MISCELLANEOUS OBJECTS (312-336).
312. Hydria. Round the lip, egg-moulding ; round the foot, Lesbian cymation.
Fluted handles, those at the side ending in rosettes with lotos-flowers between
the points, while the handle at the back ends above in a shield-shaped plate with
foliated patterns and rosettes in relief ; below in a large plate with two rosettes and
leaves above, and a relief of Dionysos and Ariadne : Dionysos is to the front,
beardless, with long curls, wreath, fawn-skin over r. shoulder, himation over lower
limbs and round 1. arm, and shoes ; his r. hand rests on a rock. He turns to
1. towards Ariadne, who looks round at him ; she wears an ivy-wreath, bracelets,
long girt chiton with apoptygma, himation, and sandals. Her hands are raised
over her r. shoulder, to fasten up her hair behind ; it is parted and rolled in
front. Behind her is a thyrsos.
Ht. \%\ in. ; of relief, 5J in. Chalke, near Rhodes, 1875. Shape as red-figured calpis
given in Brit. A/us. Cat. of Vases, iii. p. 12.
313. Hydria. Round the lip, egg-moulding ; fluted handle ; round the upper
juncture a foliated pattern with rosettes, in relief; round the lower, two rosettes
and a sort of imitation of drapery. Two chains hang from the lip.
Below is a relief of Eros and Psyche : Eros is to the front, with long curls,
ivy-wreath, bracelets, and wings spread ; his 1. hand rests on a rock, and his r. is
extended to caress Psyche. She is also to the front, looking away to r., with
hair in parallel waves gathered in a close cap punctured all over, long chiton
and apoptygma with bands (marked with hatched lines) passing round each
breast, himation over lower limbs, and sandals ; wings spread, resembling those
of Eros. Below them the ground is indicated.
Ht. 15! in. Telos, 1859. No foot or side-handles; good patina. For the subject,
compare Wolters in Arch. Zeit. 1884, pi. 1, p. 1 ff., who publishes a very similar bronze relief,
but does not mention this one ; see also Furtwaengler, Coll. Sabonroff, ii. pi. 135. The
execution of this relief is extremely coarse.
314. Situla. The vase has two loose handles, attached to double rings on
either side ; below the points of attachment are winged Gorgoneia, of the later
beautiful type. Round the foot, a moulded leaf-pattern.
Ht. 8| in. Galaxidi, 1884. Good Greek work, of the fourth century B.C.
315. Pyxis, in the shape of a pomegranate, the lid attached by a hinge, with
knob in the form of the calyx at the top.
Ht. 34 in. Delphi, 1890.
48 CATALOGUE OF BRONZES.
316. Lamp in the form of a greyhound's head, holding the head of a hare in its
mouth ; the nozzle is in the back of the hare's head.
Ht. 2I in. Length 6 J in. From Nocera (Nuceria Alfaterna). Castellani, 1865. Good
Greek workmanship of the fourth century B.C. ; fine patina.
317. Helmet of Corinthian type. On the front is incised: YOflflYH ^OMi^AO,
Aao-t/i.09 Uvppov. In the centre of the crown are two holes, and at the back one,
for the attachment of the crest.
Ht. 9 in. From Anzi, Basilicata. Bequeathed by Sir W. Temple, 1856. Roehl, /. G. A.
547 ; Roberts, Gk. Epigraphy, i. p. 272 ; Kaibel, Inscr. Gr. Sic. Ital. 655. Cf. Ad(ifios Tlvppw,
in the Tabulae Heracleenses, i. 5, 9 and ii. 1, 5, 8 (Kaibel, op. cit. 645). The inscription
must be attributed to Tarentum or Heraclea.
318. Bell. Round the bell is inscribed in punctured characters :
nYPIA^ KABIPni KAI PAIAI, Hvp(p)ia<i Kafiipw teal IlaiSL
Ht. i\ in. Temple of the Cabiri, Thebes, 1893. Proc. Soc. Antiqs. xv.
p. 74. Tongue lost ; ring at top. On the subject of dedications to the
Cabiri, see Winnefeld in A then. Mittheil. xiii. (1888), p. 412 ff., and ibid. xv.
(1890), p. 396 ff. ; a representation of the Cabiros and Pais is given on
pi. 9 of the former volume. See also Journ. Hell. Stud. xiii. p. 77 ff.
Fig. 11 = No. 318.
319. Caduceus. Orl the shaft is inscribed: AONTENAIO^ EMI AEMO^IO.,
Aovyr}val6<; elfit 87)p.6aio[<;], i.e. the staff of the public herald of the town of
Longene.
Length i8;jin. Sicily, 1875 5 found in a tomb. Roehl, /. G. A. 522; id. Imagg. p. 7,
No. 6 ; Roberts, Gk. Epigraphy, i. p. 206; Arch. Zeit. 1876, p. 40; Kaibel, Inscr. Gr. Sic.
Ital. 594. Cf. the caduceus in Arch. Zeit. 1865, A us. p. 140*. The alphabet is Chalcidian,
the dialect Ionic.
320. Strigil. The handle is fixed to the back, terminating in an ivy-leaf; on
it is stamped in relief the figure of a horse galloping to r., with the reins flying
loose, probably impressed from a die.
Length n| in. Rhodes, 1885. Biliotti Sale Cat. 614. Blade restored.
321. Handle of Strigil, fixed to the back as the last, and terminating in
an ivy-leaf; inscribed: ^nrE/VH^. 'Scoyevrjs (cf. Archaeologia, xliii. p. 258). The
same inscription, with E for H, occurs on a similar strigil from the Blacas
Collection (length 12 in.).
Length 3J in. Rhodes, 1885. Biliotti Sale Cat. 616.
322. Two Fragments of Strigils as before, inscribed respectively uriMq.,
"E]p/z&)i/, and MOlT^lflA, 'Apiaricov.
Length respectively, 3^ and 4J in. Rhodes, 1885. Biliotti Sale Cat. 616.
GREEK BRONZES OF BEST PERIOD. 49
323. Part of Strigil. The handle has been fixed to the back, as No. 320, and
terminates in an ivy-leaf. On it is stamped a cow to r., suckling a calf to 1.
Inscribed : ^OTEP, Scoirjp.
Length 6f in. Millingen Coll., 1836. Archaeologia, xliii. p. 258. For the cow suckling
the calf, compare the coins of Dyrrhachium.
324. Chisel (?). Inscribed : n^QAOAAOIA, 'AiroWoScopco.
Length 3 J in. Hungary (?), 1868. For the inscription, which also occurs on strigils, cf.
Archaeologia, xliii. p. 258 ; Babelon and Blanchet, Bronzes de la Bibl. Nationale, No. 1809 ;
and Schumacher, Samml. Ant. Bronzen zu Karlsruhe, No. 215.
325. Handle of Strigil, inscribed rAP^YMMAXOY, Trapia) Xv^dxov. The
name is probably that of the maker.
Length 5 in. From Ruvo. Bequeathed by Sir W. Temple, 1856. Archaeologia, xliii.
p. 258.
326. Handle of Strigil, inscribed TPlAkATlQNAOAON, Tpia/carlcov a6\ov.
Length 3-; in. Cyrenaica, 1866. Archaeologia, xliii. p. 258. The rpiaKarioi were the
ephebi belonging to a rpiaKa<; (for which see Liddell and Scott, s.v.) ; cf. Smith and Porcher,
Cyreue, pis. 78, 1. 14, and 79, 1. 7.
327. Model of an Altar, rising in four steps; on the top is inscribed AIOZ,
Ai6?, i.e. " [the altar] of Zeus."
Ht. 2 in. Width 3| x 3f in. 1885.
328. Stamp. The stem ends in a conical knob, and the stamp is in the form
of a disc, on which is incised KAAOZ. tca\6$.
Length 2f in. Castellani, 1873.
329-332, DICASTS' TICKETS (See, for the subject generally, Ephem.
Archaeol. 1863, pt. 12, p. 304; Revue ArcJicol. xvii. (1868), p. 140; and
Rhein. Mus. xxxi. 1876, p. 283).
329. Dicast's Ticket. Inscribed : r aaa^y! ^ema? 'AXaisus, of the third
section of dicasts. The ticket is stamped with (i) an owl within olive-wreath ;
(2) two owls with one head * ; (3) a Gorgoneion ; as symbolical of the Athenian
people. Halae was a subdivision of the tribe Cecropis.
4J in. X § in. Obtained in Athens, 1809. Burgon Coll. 674. Hicks, Manual of Hist.
Inscrs. p. 202 ; C. 1. Gr. 208 ; Dodwell, Classical Tour, i. p. 437 ; Bull, de Corr. Hell. ii.
(1878), p. 536, No. 30. Broken in two.
330. Dicast's Ticket. Inscribed: E ^IhpI?! ,APX[XoX0^ ®a\ypefc, .of the
fifth section. Phaleron was a subdivision of the tribe Antiochis.
2,1 x -I in. Athens, 1865. Hicks, Manual of Hist. Inscrs., p. 202.
* Compare Brit. Mus. Cat. Coins of Attica, pi. 6, fig. 6 (a bronze coin of about 400 B.C.).
E
50 CATALOGUE OF BRONZES.
331. Dicast's Ticket. Inscribed : ^■J^1^'* 'Aplvr^v >Apl*-
ro&ijfiov Ko0q>[ki8t)<;], of the third section. Kothokidae was a sub-division of
the tribe Oeneis. On the 1. is stamped an owl within an olive-wreath.
4jXf in. From Athens. Castellani, 1873. Hicks, Manual of Hist. Inscrs. p. 202;
Bull. delP Inst. 1873, p. 4 ; Bull, de Corr. Hell. ii. p. 536, No. 33. Letters partly perforated.
332. Dicast's Ticket. Inscribed : x ®™vt ^ka©y ®°vkv^ AafiwT[pevs]
tcadv[7rep6ev] (i.e. of Upper Lamptrae), of the sixth (seventh?) section. On the
1. is a stamp of an owl en face within an olive-wreath, and the letters A0H * ; on
the r,, a Gorgoneion.
4fx| in. Greece, 1895.
Fig. 12 = No. 332.
333. Tablet with pediment and plinth. In the pediment is a relief of an owl
to r. with face to front, within an olive-wreath. The inscription contains a grant
of proxeuia to Dionysios, son of Phrynichos, an Athenian ; the owl within an
olive-wreath is a symbol (e7rlcnip,ov) of Athens (cf. the dicast's tickets, Nos. 329,
331). It runs as follows: Upiiravis %rpdrwv \ pels WvSpeix; dfiepa re\rdpra
eirl Se/ca Trpoarcnas | YvdOtos ^coKpdrevs ' \ irpo^evov iroet a aXia \ Aiovvaiov
^pvvLyov I ^AOr/valov, avrov kcli \ exyovovi, SIScotc 8e Kal \ yds Kal oiKi'as
efiiracnv ' \ rdv 8e irpo^eviav ypd\jrav\rai els ^oXkov dvOefiev, \ el tea 7rpofioi>\ois
Kal 7rpo\8UoL<i So/cf] Ka\ws e-^eov. On the plinth : Atovvaiov \ ^puvl^ou | ^ AOrjvalov.
The letters are filled in with niello.
12JX io| in. Found at Palaeopolis in Corfu, 1839. Woodhouse Coll., 1868. Mustoxides,
Delle cose Corcircsi, i. p. 189 ; Vischer, Epigr. u. Arch. Beitr. = Kl. Schriften, ii. pi. 1, fig. 4,
p. 13, No. 22 ; Gr. Dial.-Inschr. 3199 ; Brit. A/us. I user. 166 ; Dittenberger, Corpus I user. Gr.
Sept. No. 682. In the pediment are three holes, in the base, two. For a facsimile of the
tablet, see Brit. Mtis. /user. ii. pi. 3.
334. Tablet with pediment and anthemion, and plinth. The inscription
contains a grant of proxenia to Pausanias of Ambracia. It runs as follows :
"ESo£e Tti dXla 7rp6%e\vov elpev Uaucravlav ''ArlrdXov 'Ap,/3patcuoTav | rds ttoXios
rdv K.opKvpal\(ov avrov teal eyyovovs' \ elfiev 8e avrols Kal rd \ dXXa rifica
b'aa K.a\l roll] \ dXXois rrpo^evois \jcal~\ \ evepyerais yeypa\7rrac rdv Be rrpo^evl\av
Compare Brit. Mus, Cat. Coins of Attica, pi. 6, fig. 5 (also a bronze coin of about 400 B.C.).
GREEK BRONZES OF BEST PERIOD. 5 1
7rpo/3ov\ov<; KaX TTpo\8i/cov<; <ypd^avTas eh \ yakKw^a dvade/xev, | rov he Tdfiiav
Zojxev | to yevofievov dvdXcolfia. On the plinth : Havo-avlav 'ArrdXov 'AfiftpaKioorav ;
these letters are raised and cut with a broad tool.
8J x 5I in. From Corfu. Payne Knight Coll. ; formerly in possession of Sir W. Hamilton
and in the Prossalendi Mus., Corfu. Mustoxides, Delle cose Corciresi, i. p. 191 ; Dochwll,
Classical Tour, ii. p. 505 ; Roehl, Sclied. Epigr. p. 6 ; Gr. Dialekt-inschr. 3202 ; Brit.
Mus. Inscr. 167 (facsimile on pi. 2) ; C. I. Gr. 1843 (incorrect) ; Dittenberger, Corpus Inscr.
Gr. Sept. No. 686. Broken ; part of three lines lost. Two holes in the plinth, and one in
the pediment.
335. Fragment of Tablet, inscribed with part of a decree, probably relating
to finance :
EIAIE • • • et'<? e' • ; • •
THNXPHMATH twv xpr]fMiTG)[v
nPAZI^E^THMH el'a]7rpa%L$ earco pJr)
AOTMATITETOMH Soy/Jbarl re to fir) . . .
3fX2in. From Corfu. Woodhouse Coll., 1868. Brit. Mus. Inscr. 168 ; Dittenberger,
Corpus Inscr. Gr. Sept. No. 978.
336. Ticket in the shape of a spatula, inscribed :
ANTITONO^ 'Avtijovos
HPl<t>nNTO^ 'H.p(,(j)(ovTO<;
KYNITH^ Kvvlttjs.
Length 3^ in. Rev. Arch. iv. 1861, p. 182. Probably a yakKziov or certificate of citizenship,
such as is mentioned by the pseudo-Demosthenes adv. Boeot. 997.
E 2
( 52 )
B. ETRUSCAN AND EARLY ITALIAN BRONZES
(337-785)-
I. PRIMITIVE PERIOD, BEFORE GREEK INFLUENCE (337-446).
337. Archer drawing a bow, to which an arrow is adjusted. The string and
neck of the arrow are held between the thumb and forefinger, as in Assyrian
art ; the bow is drawn towards the 1. breast ; the string is lashed at one end of
the bow and fixed by a loop at the other. On his 1. wrist the archer, who is
beardless, wears a guard to protect the arm from the recoil of the string ; at his
back hangs a cylindrical quiver with a sheaf of arrows, in front of which are
fixed two rings for the bow. He wears a low helmet with two horns bent
forward in the form of a crescent, a tight-fitting jerkin, and endromides \
immediately below his r. arm is an oblong breast-plate, which partially conceals
the ring-shaped handle of a dirk (?) suspended in front of his body.
Ht. 7| in. Probably from Sardinia. Feet wanting ; very rude. The eyebrows are thick,
and rendered in Assyrian fashion ; the arms are very long and thin. For similar types, see
De la Marmora. Voyage en Sardaignc1, pi. 27, and Perrot and Chipiez, Hist, de I'Art, iv. p. 67,
%• 55-
338. Warrior. He is beardless, and wears a close-fitting skull-cap or helmet,
short chiton, of which one side folds over the other, and tight-fitting leather
cuirass reaching to the hips, from which hang straps. His hands rest on a
knotted staff held in front of his body, and in r. hand he holds a sword, the
blade of which rests on his 1. shoulder ; a dagger (?) is suspended by a shoulder-
belt which passes over r. shoulder. He stands with feet nearly parallel.
Ht. y} in. Probably from Sardinia. Extremely rude; of the same character as the
last. For similar figures, see Bull. Arch. Sard. 1857, pi. E, figs. 5, 6 ; De la Marmora, Voyage
en Sardaigne2, pis. 17-31 ; Gazette Archeol. 1885, p. 177 ; and Perrot and Chipiez, Hist, dc
VArt, iv. p. 69.
339. Two Figures crouching, of uncertain sex. The lower limbs, now
broken away above the knees, have been drawn up towards the body ; the r.
arm of one figure, which is headless, rests on the r. knee, and the 1. arm passes
behind the back and over the 1. shoulder of the other figure, whose r. arm passes
behind the back of the first ; the head of the second is ape-like.
Ht. 1 1 in. Extremely rude work. A hole pierced at the interlacing of the arms.
340. Pan, or similar type. Goat's horns, beard, and legs ; hands extended,
lit. 5J in. Strailgford Coll., [864. Horns, hands, and legs below knees broken.
EARLY ITALIAN BRONZES. 53
341. Man, beardless, with puffed-out cheeks, hands on chest, and legs bent
forward as if sitting.
Ht. 2| in. Bequeathed by Sir W. Temple, 1856. Ring in top of head.
342. Man on Horseback. Very rude ; no features.
Length 2} in. Christy Coll., 1S65. Three of horse's legs lost.
343. Human Figure with female breasts ; no features. On the top of the head
a ring, broken.
Ht. ii in.
344. Human Figure, rudely represented by a plate of bronze, wider below
than above, with loops to indicate the head and arms ; to either shoulder has
been attached an object resembling a snake or long-necked bird (one broken off).
The flat part is ornamented with incised dotted circles.
Ht. 3 in.
345. Plate with Ploughing Scene. In the centre is a nude human figure
ploughing with two oxen yoked together : the plough is represented by a long
pole fastened to the middle of the yoke. In front of the oxen's heads and
facing the first figure is another, similar ; both are ithyphallic, with female
breasts, and their heads and features are of a low animal type. Round the
margin of the plate are flowers of four leaves, within which globular beads of
glass are arranged alternately with birds, which have had chains in their beaks.
Four twisted rods set obliquely to the plate serve as the support of a small
plate above (diam. 5 in.). This plate is surmounted by a duck with bull's horns
(as Nos. 347, 348), and round the margin are smaller birds with chains in their
beaks ; from the under side of this plate hang short twisted rods ornamented
with globular glass beads. Near the foot of each of the taller rods is a very rude
figure, standing in a boat (?), whose arms are arranged — one up and one down —
in the form of the letter S ; chains are attached to the heads of these figures.
Ht. 12 in. From Campania. Payne Knight Coll. Archaeologia, xxxvi. pi. 27, fig. 1,
p. 358 ; Kemble, Horae Ferales, p. 240. This scene probably has some connection with the
worship of Ceres or some primitive Italian deity of agriculture, and perhaps with the
Ambarvalia. On objects of this class see Petersen in Rom. Mittheil. xii. (1897), p. 3 ff.
346. Plate with Ploughing Scene, as the last, but without the rods or upper
plate. In the centre of the plate are two oxen yoked together ; in the centre
of the yoke a pole, which probably represents a plough. In front of and behind
the oxen stand two nude ithyphallic male figures with female breasts ; their
heads and features resemble those of apes. On opposite sides and parallel
to the oxen are two vertical plates fastened by wire to the circular plate ;
these terminate in rings supported by open-work, and serve as handles. They
are flanked on either side by a rude figure with ape-like head and arms bent
in the form of the letter S, standing on a base formed of two birds conjoined ;
54 CATALOGUE OF BRONZES.
chains are attached to their ears, to the back of their necks, and to the beaks
of the birds. Round the margin of the plate have stood twenty birds (three
wanting), their heads turned outwards ; they all look outwards, and have had
chains hanging from their beaks ; beneath the edge are fastened ten spirals
of bronze, about i-i- in. diam., fixed on the lower side of the plate.
Diam. i if in. Payne Knight Coll. Archaeologia, xxxvi. p. 359. Found in a tomb with
No. 345-
347. Fibula, to the bow of which is attached a circular plate similar to the
upper part of No. 345. The fibula is of the early simple type, as Nos. 1942-1945,
with flat bow, and sheath for the pin. In the centre of the plate stands a bull-
headed bird ; round the margin are ten birds with chains hanging from their
beaks, alternating with eight glass beads, in which rings are fastened : the beads
are of blue, white, and opaque glass, and some have been gilt.
Length 5^ in. Diam. of plate 4 in. Payne Knight Coll. Archaeologia, xxxvi. pi. 27,
fig. 2.
348. Fibula. Type as last, but no plate attached ; on the pin is a bull-
headed bird.
Length 6| in. Hamilton Coll. 16 *. Archaeologia, xxxvi. pi. 27, fig. 4.
349. Fibula. Bow-shaped, with wire pin, to the two ends of which are
attached two flat plates cut in the form of concentric segments of circles : on
the outer segment stand five ducks, turned to the inner side ; on the inner are
three ducks turned in the same direction. The edge of the outer segment is
pierced with small holes, probably for the attachment of chains.
Length \\ in. Ht. z\ in. Hamilton Coll. 12 *. Archaeologia, xxxvi. pi. 27, fig. 3.
350. Fibula. As last, but the pin fastens in the opposite direction, i.e. to r.
Length \\ in. Ht. 3 in. Hamilton Coll. 13 *.
351. Duck with head of an ox, probably from a fibula as No. 347.
Ht. 2 % in.
352. Strip of Bronze, pierced at irregular intervals with holes in which have
been riveted twenty-seven figures of ducks, of which ten are now remaining.
Length 15 | in.
353. Strip as last, curved, on which have been riveted eleven ducks, of which
five remain.
Length 6} in.
354. Two Strips as before, united by a narrow piece, on which ducks have
been riveted at intervals ; only one remains.
Length y\ in.
EARLY ITALIAN BRONZES. 55
355. Strip as last but one, in which have been riveted sixteen ducks, of which
only four remain ; from it hang four fiat spiral coils of wire ; the ends of the
ducks' beaks are pierced.
Length 10^ in. Archaeologia, xxxvi. pi. 27, fig. 5.
356. Pair of Collars, with connecting-piece. Each collar is formed of two
plates of bronze connected by two bands of open-work ; the shorter of the two
bands is attached to the plates by a hinge at one end and a strong hasp at the
other ; the longer is attached by a hinge at each end, so that each collar is
partially flexible. The open-work of the collars and connecting-piece is formed
by rows of human figures standing with arms extended horizontally and legs
wide apart, between rows of ducks and other birds. The hinges are formed by
rings revolving on cylindrical rods ; the plates are triple, the three pieces of
metal being riveted together.
Length 3 ft. 1 in. Comarmond Coll., 1851. Archaeologia,xxxv\. pi. 27, fig. 8.
357. Ornaments from the head-stall of a bridle,* mounted on a modern model
of a horse's head. The bits, which are made of twisted bars, have at each end
a rude figure of a horse with a single fore-leg and hind-leg terminating in a ring.
From each end of the bit hangs over the back of the figure a button for the
attachment of the rein. Along the straps of the head-stall are a series of
ornaments resembling the bead-and-reel, with masks of horses' faces at intervals,
and with ducks perched at intervals on the surface of the beads. At the inter-
section of the straps are circular plates rising to a point in the centre.
Castellani, 1873. Smith, Diet. Antiq? i. p. 876. All the ornaments have been mounted
on modern leather.
358. ORNAMENTS from a head-stall, exactly similar to the last series, also mounted on
leather on a modern model of a horse's head. Castellani, 1873. Smith, Diet. Antiq? i. p. 876.
359. HORSE, probably from a bit, with only two feet ending in large rings; large mane;
chain fastened to back. Ht. 3! in. Bequeathed by Sir W. Temple, 1856.
360. HORSE, as last ; long curled-up nose ; three rings on back ; no chain. Ht. 5! in.
361. EMBOSSED PLATE. Bull and lion tor. ; nails round the edge. l4f x \\ in. Pulsky
Coll., 1868 {Sale Cat. 53-58). Perrot and Chipiez, Hist, de /'Art, iii. p. 873. Parts broken
away ; corroded.
362. EMBOSSED PLATE. Browsing deer between two lions to 1. 19I x 4J in. Puisky
Coll., 1868. Corroded.
363. EMBOSSED PLATE. Bull and lion to 1. 13I X 4|in. Pulsky Coll., 1868. Corroded;
injured on left.
364. EMBOSSED PLATE. Winged goat falling forward to r. ; cable border. 9* x \\ in.
Pulsky Coll., 1868. Corroded ; lower edge injured.
* Similar objects are discussed by Gozzadini, Mors de cheval italiques ; in pi. 1, fig. 7, he illustrates
one of these horses, which he stales was found at Palestrina ; see also Notizie degli Scavi, 1897, p. 137.
56 CATALOGUE OF BRONZES.
365. EMBOSSED PLATE. Lion to r, ; head of deer or goat to r. (broken off) ; nails round
the edge. 13 x 4I in. Pulsky Coll., 1868. Corroded.
386. EMBOSSED PLATE. Designs incised on a crinkled surface : Sphinx, lion, and bull to
I., followed by a palmette and lotos-pattern ; ape walking on hind legs to 1., looking back ; on
the extreme r. a palmette pattern, above which are two hemispherical openings. 2 ft. 2^ in. x
4|in. Pulsky Coll., 1868. Head of Sphinx lost.
367. DIADEM. Hjs been decorated with patterns in relief, destroyed by corrosion. Length
17 in. Width 3} in. Castellani, 1884 {Sale Cat. 462).
368. CIRCULAR PLATE. On one side are two, on the other three, knobs for hinges. In
the centre is a punctured star, with central boss, and another between each of the five points ;
round this is a punctured pattern and a ring of knobs. Next is a broad band of punctured
maeander alternating with grotesque animals ; the ground is filled in with concentric circles and
raised knobs. Outer band of knobs and a sunk pattern. Diam. 8| in. Blacas Coll., 1867.
369. CIRCULAR PLATE. Knobs for fastenings as last; central star with raised knobs
between the five arms and punctured patterns ; outer band of horned animals interspersed with
raised knobs, bordered by rings of raised knobs and a sunk pattern. Diam. 9 in. Jones Sale,
185:. Cf. Conestabile, Due Dischi in Bronzo, etc., pi. 1.
370. CIRCULAR PLATE. In the centre is a boss, round which is a punctured star, with a
boss between each of the five points ; round this are patterns of punctured lines between two
bands of concentric circles ; patterns of dotted lines forming an oblique inlander ; and
herring-bone pattern. In the outer rim are, on one side three dots, on the other three pairs of
two. Diam. 8f in. Blacas Coll., 1867.
371. CIRCULAR PLATE. As last, but patterns differently arranged. Diam. 9 in.
Blacas Coll., 1867.
372. CIRCULAR PLATE. As before; central punctured star, surrounded by concentric
circles and alternate bands of raised knobs, punctured patterns, and dotted circles. Diam. 8| in.
Blacas Coll., 1867.
373. CIRCULAR PLATE. Round the edge a row of large knobs, and others outside this
circle ; in the middle two rings of similar knobs, with one in the centre, round which are two
grotesque figures of winged (?) animals, with claws and horns, the outlines indicated in repousse
work ; rather indistinct. Diam. 10 in. Caserta, 1872. Two pieces broken off.
374. PERFORATED PLATE, with patterns of rosettes in two circles, and bands of dots.
Diam. 7J in. Caserta, 1872.
375. PERFORATED PLATE, as last ; patterns of rosettes and circles ; in the centre a
four-spoke wheel. Diam. 7 in. Caserta, 1872. Parts broken away.
376. PERFORATED PLATE. As last two; outer band of network pattern; round the
rim, holes at intervals. Diam. 7.^ in. Perugia, 1888.
377. WHEEL formed of concentric rings convex above and flat below, joined in four places.
Diam. 7J in. Caserta, 1872. Part broken away.
378. PART OF EIGHT-SPOKE WHEEL, with volutes round the inner side of the rim.
Diam. 3^ in. Blacas Coll., 1867.
379. PART OF DISC, with star-patterns punctured on a ground of concentric circles, sur-
rounded by a band of dentils. Diam. 7i in. Cervetri, 1889. In the rim four holes are pierced,
close together.
EARLY ITALIAN BRONZES. 57
380. STAFF OR ROD, hollow, set in a solid handle terminating in a knob of open work, from
which hang five rings ; the hollow part is hammered together from a plate ; on both parts are
incised bands of parallel rings, alternating with diagonal lines. Length 135 in. Payne Knight
Coll. Archaeologies xxxvi. p. 360, No. 2. At the lower end of the staff is a rivet-hole.
381. STAFF, hollow, made of a plate hammered together ; the surface is ornamented with
hatched zigzag lines. At either end a loop for the attachment of a cluster of chains, which
at one end still remain. Length n-g-in. Payne Knight Coll. Arcftaeofogz'a, xxxvi. p. 360, No. 3.
382. TRIPOD, consisting of a lebes resting on three legs curved outwards ; on the base of the
curve is the figure of a horseman wearing a conical cap. These curved legs rest on rude
human legs, the feet of which support the entire structure ; under the horseman is open-work,
in which is the figure of a duck. Ht. 8 in. Diam. 8| in. From Capua. Castellani, 1873.
One leg lost.
383. PLATE in the form of an axe-head surmounted by a loop, on either side of which is a
curved projection, representing the head of an aquatic bird with curved beak ; to each of these
is attached a loop from which hangs by a chain a pendant representing a man or ape crouching
and holding up some object between chin and knees. Compare No. 344. Length 4- in.
From Ruvo. Bequeathed by Sir W. Temple, 1856. Extremely rude work.
384. FRAGMENTS OF LEBES, made of plates riveted together with round-headed nails.
On either side has been attached a handle of solid bronze, the two sides of which curve
upwards from the base in the form of an S, terminating on each side in the rudely-modelled
head of an animal, with wide open jaws and large erect ears, perhaps a Gryphon. On a cross-
bar which connects these curved sides is a vertical bar surmounted by a knob, from which
issue two curved rods tapering downwards, each terminating in a knob ; this is probably a rude
imitation of the human figure. Ht. of handle, 7 J in. From Vulci. Archaeologia, xxxvi. pi. 27,
fig. 10.
3 £5. BRAZIER, supported on four wheels, each of six spokes ; on each of the two longer
sides is a Hippocamp with one leg extended in front, cut out of a fiat piece of bronze. In the
inside are two bars placed lengthwise, on which the fuel was placed ; at each corner is an
erect spike. Ht. njin. ; to the edge of the brazier, 9 in. Length 18 1 in. Probably from
Chiusi. Millingen Coll., 1847.
386. SHOVEL (?) for carrying fuel, with ornamental blade of open work, placed at right
angles to the handle. Length 13! in. Millingen Coll., 1S47.
387. FOUR HIPPOCAMPS, as those on No. 385, which have formed the corner-pieces of a
brazier, resting on long narrow supports, below which are wheels with eight spokes, forming
quatrefoil openings. Ht. of each, 13I in. Millingen Coll., 1847. A brazier with similar
Hippocamps is in the Karlsruhe Museum (Schumacher, Cat. 382).
388. HIPPOCAMP, probably from the edge of a brazier as No. 385, with one leg extended in
front, cut out of a flat piece of bronze. Length \\ in.
389. FORE-PARTS OF TWO HORSES, each resting on a square base, the bottom and
one side of which are open for fixing on the end of a chariot-pole. Ht. 5! and 6 in.
Castellani, 1873.
390. TWO HEADS OF HORSES, with manes combed flat over the forehead and down the
neck ; in one case the ears are upright, in the other pointed forward. Square ends with open
sockets for fixing on a chariot-pole. Ht. 8 and j\ in. From Chiusi. Castellani, 1873.
5o CATALOGUE OF BRONZES.
391. TWO HEADS OF GRYPHONS, with sockets for similar purpose. Ht. 9 and 9J in.
From Chiusi. Castellani, 1873.
392. FORE-PART OF GRYPHON, with top-knot, looking round to its r. ; socket for fixing
on pole. Ht. 5| in. From Vulci. Campanari, 1847.
393. WINGED LION, in relief, moving to 1. ; 1. fore- and hind-paws raised ; wings recurved ;
on the head and back and below the knees are pieces for attachment. Length 4 in. Burgon
Coll. ; acquired by him at Canino, 1829.
394. WOLF, holding a cub (or a lamb?) in his jaws; eyes indicated by holes encircled by
incised lines, and the' nostrils by holes ; on the face, incised zigzags. Length 3^ in. Ht. if in.
Archaeologia, xli. p. 278 ; Gerhard, Etr. Spiegel, i. pi. 18, fig. 12 ; Rom. MittheiL xii. (1897),
p. 5. Belongs to a group published in Archaeologia (loc. cit.), now in the Ashmolean Museum.
Rude work ; legs of cub and left fore-leg of wolf lost. A hole pierced through between the
shoulders.
395. TWO COWS, each with two heads, one at either end, forming part of a bit. Ht. 2§- and
2J in. Towneley Coll.
396. BULL (?). Has had four heads, two at each end, but only those at one end remain.
Ht. if in.
397. BULL, covered with concentric circles punched in ; ring in back ; stands on a base
which is pierced with holes all round the edge. Length 2 in. Ht. if in. Strangford Coll.,
1864. Very rude.
398. BULL. One horn lost ; ring in back ; hole for suspension between shoulders. Length
1 f in. Bequeathed by Sir W. Temple, 1856.
399. RAM with head at either end, and a ring on the back, probably part of a bit. Length
2 in. Towneley Coll.
400. RAM, with head at either end ; three holes in back. Length ijj in. From Corfu.
Woodhouse Coll., 1868.
401. RAM, with head at either end ; a hole through the middle. Length 2 J in.
402. RAM, with a ring in the back. Length i|- in. Feet lost.
403-406. FOUR RAMS, with ring in the back; hinder parts corroded. Ht. i-if in. Bequeathed
by Sir W. Temple, 1856.
407. GOAT (?) standing on two supports like double reels ; ring in back. Ht. 2} in. Very
rude.
408. BIRD walking ; ring in back. Ht. if in. Patina on surface.
409. BIRD. Ring in back. Ht. if in.
410. BIRD with long neck and tail ; ring in back. Ht. if in. Very rude.
411. ASS braying (?). Ring in back. Length 2I- in.
412. ANIMAL with long neck ; row of concentric circles down back ; ring on back. Ht. iiin.
Bequeathed by Sir W. Temple, 1856.
413-418. SIX ANIMALS with upright cars and long necks, probably meant for horses. Ht. l|— 2 in.
Bequeathed by Sir W. Temple, 1856.
419-427. NINE HORSES with manes indicated, open mouth, and ring on back. Ht. i|-l| in.
Bequeathed by Sir W. Temple, 1856.
EARLY ITALIAN JiKONZES. 59
428. THREE SIMILAR HORSES, which have been amalgamated into a confused mass by
decay of adjacent surface ; an oblong piece of bronze, perhaps the base of one of the horses,
forms part of the mass.
429. SHEATH, with dagger inside, in low relief; on the back are three pins or stilettos, with
large heads, in high relief; a ring at one side. Length 2f in. Tharros, Sardinia, 1856;
grave 5. Cf. Perrot and Chipiez, Hist, de PArt, iv. p. 85, and Bull. Arch. Said. 1855, p. 161.
The use of this object is indicated in Perrot and Chipiez, op. cit. figs. 52 and 62 ; it is a copy of
a sheath which held one or more weapons.
430. SIMILAR OBJECT, razor-shaped ; on one side is a relief of a sheathed dagger ; on the
other, a pin or stiletto with large head. Round the edge, a raised plait-border ; on one side,
two rings (one broken). Length 3! in. Probably from Sardinia.
431. RIGHT HAND, with fingers close together, flat on the inner side ; the nail is indicated
on the thumb. Length 3-5 in.
432. TWO LEFT HANDS, as the last. Length 2J and 3 in. One is corroded.
433. OBJECT of unknown use, perhaps part of the trappings of a horse, of which the lower
part is formed by a calyx of four sepals, from which springs an upright piece branching out
into four bars ending in Gryphons' heads open-mouthed ; from two of the bars spring two
uprights supporting another bar, which ends in two similar Gryphons' heads. Ht. 7 in. 1889.
434. Female Bust, perhaps intended for Aphrodite, composed of thin plates of
bronze rudely hammered in relief (a^vpi'fkarov) and then nailed together. The 1.
hand is placed on the breast, and in r. she has held out a bird or flower (cf. the
tufa figure from the same tomb, Micali, Mon. Incd. pi. 6, fig. 1). The hair is waved
in front and falls in straight parallel curls to the waist, with two separate curls,
formed of rolled-up sheets of bronze, over the shoulders in front ; she wears a
broad necklace composed of rows of pendants, with borders of astragalus and
wavy lines. The waist is very small and is ornamented with a band of maeander ;
below it is a pedestal, the upper part conical, the lower cylindrical, on which
are friezes in relief of an Ionian character, indicating that this part had been
imported, while the bust itself was of local Etruscan workmanship. The upper
frieze consists of a procession of animals to 1. : a browsing ibex ; a roarin"- lion ;
a Sphinx with recurved wings ; and a similar Sphinx. On the lower frieze are
four two-horse chariots driven to 1. ; in each is a charioteer in long chiton,
holding the reins in either hand and turning to look at a companion in Ion"-
chiton and himation. Between the first two and last two chariots is a Sphinx
to 1. with long hair in formal tresses and recurved wings. It is possible that the
figure may have originally been a full-length one, and that this lower frieze
formed the lower border of the dress.*
Ht. 1 5 J in. From the Polledrara tomb, Vulci, 1850. Micali, Mon. Incd. pi. 6, fig. 2 ;
Dennis, Etruria? i. p. 460 ; Murray, Handbook of Gk. Archaeology, p. 241 ; id. Hist, of Gk.
Sculpt:1- i. p. 85 ; Journ. Hell. Stud. xiv. pi. 8, p. 222 ; Martha, EArt Etrusque, p. 498 ;
* Micali {op. cit. ) gives a low square plinth below the circular one, ornamented with a frieze of
animals, and with double lotos-flowers on the upper edges; but there is no record of its existence
subsequent to the publication of his work in 1844.
60 CATALOGUE OF BRONZES.
Baumeister, Denkmdler, i. p. 508, fig. 548 ; Daremberg and Saglio, ii. p. 840, fig. 2820 {s.v. Etruria) ;
Builder, 16 March, 1889, p. 204, and 23 March, p. 226 ; Perrot and Chipiez, Hist, de VArt, iii.
p. 873 ; Korte in Arch. Studien H. Brunn dargebracht, p. 32 ; Fortnum, Bronzes in South
Kensington Mus. p. xli. Both bands of design are injured, and part of the lower broken away ;
the top of the head is also damaged. With the animals on the upper frieze as characteristic
of Ionian art, compare vases of the sixth cent. B.C., such as B 54-57 in Brit. Mus. A statue of
Zeus Hypatos of similar technique is mentioned by Pausanias, iii. 17, 6. For the bits of the
horses on the lower frieze, ci./ourn. Hell. Stud. xi. pi. 2, fig. 6, p. 178.
435. Tripod- Stand for Lebes. The legs are formed of thin ribbed plates,
bent at a right angle at the top, and ending below in claws, riveted on to
the top of the stand, which is formed of a high cylindrical band on which are
embossed patterns : two bands of animals (which are too obscure to be identified)
alternating with two bands of intersecting semicircles and palmettes.
Ht. 22 in. From the Polledrara tomb, Vulci, 1850. Micali, Mon. Ined. pi. 8, fig. 6;
Rom. Mittheil. xii. (1897), p. 7. The legs and upper part are backed with modern wood,
painted green to resemble the original bronze.
436. Brazier {layapa), running on four wheels, ornamented with the fore-
part of a horse projecting at each corner.
Ht. 9! in. Length 18 in. From the Polledrara tomb, Vulci, 1850. Martha, VArt
Etr usque, p. 112. Corroded.
437. Brazier, as last, but more corroded.
Ht. 7 in. Length 24^ in. by \il in. From the Polledrara tomb, Vulci, 1850. Micali,
Mon. Ined. pi. 8, fig. 1 ; Dennis, Etruria"-, i. p. 461. The body appears to be of iron.
438. Jar> with large upright handles of thin plates of bronze, of open-work, with
patterns of raised knobs all over ; the upper part of the vase is riveted on to the
lower at the shoulder, and also has patterns of raised knobs.
Ht. 21^ in. ; to top of handles, 23 in. From the Polledrara tomb, Vulci, 1850. Micali,
Mon. Ined. pi. 8, fig. 5.
439. Jar, as last.
Ht. 22| in. Polledrara tomb, Vulci, 1850.
440. Primitive Figure of Goddess, wearing a short chiton with belt, falling
in flaps on the thighs ; the hair is arranged in three rows of curls on the
forehead, and falls in a flat mass at the back ; above is an upright head-dress
ornamented with scale pattern. The hands are extended, and have held objects,
now wanting ; the knee-caps are indicated by circular pieces attached ; the
eyes are deeply hollowed.
Ht. 10= in. Castellani, 1884 {Sale Cat. 450). Feet broken off. The figure bears tracts
of having been encrusted with silver.
441. Primitive Female Figure, of straight, flat, elongated shape, like the
sheath of a sword, with feet close together : the hair falls in a mass down
the back, and she wears a cap (?) and long chiton with apoptygma.
Length l8| in. Very rude. Half-way down the back is a projection.
EARLY ETRUSCAN BRONZES. 6 1
442. Athene. She stands with 1. foot advanced and 1. arm extended ; she
has brandished a spear in r. hand. She wears a helmet with very large crest
and cheek-pieces turned up, long embroidered chiton, and cuirass (?) with incised
patterns and a very rude Gorgoneion on the breast.
Ht. 6 in. Hamilton Coll. 6a. Left arm from elbow lost ; very rude and elongated.
443. Athene. She advances on 1. foot, with 1. hand extended palm upwards
and spear brandished in r. hand ; she wears a helmet with large crest and cheek-
pieces turned up, on which are incised patterns, a long close-fitting chiton with
border of chevrons and dots, and aegis with engrailed border.
Ht. 8| in. Payne Knight Coll. (xiii. 3). Very rude.
444. Warrior. He stands with 1. foot advanced and r. drawn back, r. hand
raised as if brandishing a spear (now lost), 1. extended ; he is beardless, and
wears a helmet, cuirass, and greaves. The helmet has cheek-pieces turned up,
and a very large crest reaching to the waist ; it is incised all over with patterns.
The cuirass has shoulder-flaps and a thick belt ; it is incised with spirals and
wavy lines of dots, and has two flounces at the bottom.
On the base is fixed a female mask, with hair arranged in two rows of
elaborate curls over the forehead, mouth open, and eyes pierced for inlaying.
Ht. 1 1 1 in. Towneley Coll. Very elongated proportions.
445. Warrior. He leans back, with 1. leg advanced ; he has brandished a
spear in r. hand and carried a shield on 1. arm. He is beardless, and wears a
helmet with cheek- pieces turned up, and cuirass with incised patterns and a
triple row of flaps below.
Ht. 6J in. Hamilton Coll. 230. Elongated proportions ; very rude work.
446. Warrior. He stands with 1. leg advanced and 1. hand extended ; in r.
he has brandished a spear. He is beardless, and wears a crested helmet with
cheek-pieces turned up, and cuirass with double row of flaps below.
Ht. 4| in. Millingen Coll., 1836. Left leg from knee and left hand lost. Slender pro-
portions ; rude workmanship.
II. ARCHAIC PERIOD (447-601).
A. STATUETTES.
447. Aphrodite (?). She stands with feet together, the 1. slightly advanced,
and hands extended ; she has held a flower between the r. thumb and forefinger.
Her hair is arranged in thick waves over the forehead, and falls in a mass down
the back ; she wears stephanh or awpyx, long chiton, and shoes with turned-up
toes. Over the chiton is a close-fitting garment of unusual shape, open in front
as high as the girdle, with two rounded lappets falling over the hips ; at the back
62 CATALOGUE OF BRONZES.
it just reaches the top of the thighs. On the breast is engraved a floral pattern ;
the fastenings of the sleeves are ornamented in the same manner.
Ht. 2 ft. Found at Sessa on the Volturno ; acquired in 1864. Encycl. Brit? vi. p. 455.
A very interesting specimen of archaic Italian art, and also a very early example of casting. The
right side of the figure is split, owing to the unequal expansion of the iron which has been
used as the core. The fore-arms have been separately cast and soldered on.
448. Aphrodite, from the top of a candelabrum (?). She stands in the attitude
of the Venus dei Medici, with 1. foot slightly advanced ; she has held up some
object in r. hand, and her 1. is placed before the pubes. She is nude, except
for a high polos in the form of a calyx supporting a capital, and shoes with
turned-up toes ; her hair is parted and looped up at the back under a fillet, with
four curls in front of each ear.
Ht. 7|- in. ; of the figure only, 4-f in. Pulsky Coll. 1868 {Cat. 20). Inghirami, Mus.
Chiusino, pi. 203 ; Murray, Hist, of Gk. Sculpt, ii. p. 272. The figure stands on a base with
three legs.
449. Aphrodite adjusting her sandal. She stands on 1. leg, fastening the sandal Plate XIII.
with r. hand ; her hair is arranged in a fringe over the forehead, and she
wears drapery girt round the waist and himation veiling her head, in which her
1. arm is muffled.
Ht. 2I in. Payne Knight Coll. (ixxvii. 8). Small ancient base.
450. Artemis (?). She moves forward on 1. leg, with hands extended ; her Plate XII.
hair falls in a mass of curls down the back, confined by a fillet on which are three
rosettes, and she wears a long chiton with wavy patterns incised, bordered
himation falling m pteryges over the arms, and sandals.
Ht. 5 § in. Falterona, 1847. Micali, Mon. Ined. pi. 13, figs. 1, 2; Encycl. Brit. 9 viii.
p. 643 ; Mansell, Brit. Mus. Photographs, No. 805 ; Bull. dell Inst. 1838, p. 67, 1842, p. 180 ;
Arch. Zeit. 1847, p. 186.
451. Mars or a Warrior. He advances on 1. foot, the r. drawn back ; his
r. hand is raised, and has brandished a spear, and his 1. is extended with
fingers curved inwards. He is beardless, and his hair is arranged in two rows of
curls over the forehead ; he wears a helmet with cheek-pieces turned up, short
chiton reaching to the hips, thick twisted belt, and cuirass ornamented with
spirals and tongue-pattern.
Ht. 6fin. Hamilton Coll. 7.
452. Mars or a Warrior. He stands with 1. leg advanced, r. hand raised in
the act cf hurling a spear by the amentum ; the spear is lost, but the first and
second fingers are extended for the thong ; on 1. arm he has held a shield, of
which the oclianon and porpax still remain. He is bearded, and wears a helmet
with long crest and cheek-pieces turned up.
Ht. 7, 5 in. Castellani, 1873. Mon. delV Inst. Suppl. pi. 26, 5 ; Jahrbuch, vii. (1892),
p. 137, note 23. Left foot lost. Blue patina.
ARCHAIC ETRUSCAN STATUETTES. 63
453. Mars or a Warrior. He stands with 1. foot slightly advanced ; he has
brandished a spear in r. hand, and in 1. he holds out the end of some object.
He has a long stiff beard, and wears a visorcd helmet on which volutes are
incised, greaves, and cuirass. The cuirass has a border of fringed flaps with
incised patterns ; on the shoulders are two panels incised, with a twisted pattern
below ; in each panel is a lion rampant, the two facing in opposite directions.
Ht. 17 in. Nani and Pourtales Colls. Cat. Pourtales, 574. Crest of helmet broken off.
Slender proportions.
454. Mars or a Warrior. He stands with r. foot drawn back and 1. hand
on breast ; in r. hand he has brandished a spear. He is beardless, and
wears a helmet with frontal ridge, cheek-pieces turned up, and crest in the form
of a swan's head ; greaves, and cuirass with triple row of incised flaps and incised
patterns round the waist, and shoulder-pieces.
Ht. Si in.
455. Mars or a Warrior. He stands with 1. leg advanced, holding up a
sword-sheath (?) in r. hand ; on his 1. arm is a shield with incised patterns. He
is beardless, and wears a helmet with incised volutes and bead-moulding in front,
cheek-pieces turned up, and large crest ; short chiton, cuirass of scales with two
rows of fringed flaps and incised patterns on shoulder-pieces, and greaves on
which are incised volutes.
Ht. \z\ in. From Todi. Payne Knight Coll. (lviii. 3). Clarac, Musee de Sculpt.
v. pi. 834 B, fig. 2154 C ; Micali, Antichi Monument^ pi. 21 ; Revue Arche'ol. xxxi. (1897), p. 330.
Good careful work ; patina on lower part.
456. Mars or a Warrior. He stands with 1. leg bent and r. hand raised,
having held a spear ; his 1. arm is bent, and on it are remains of the handles
of the shield which he has held ; he is beardless, and wears a helmet with
cheek-pieces turned up, short chiton, cuirass with row of flaps below and incised
hatchings on the shoulder-pieces, and greaves.
Ht. gl in. From Palestrina. Towneley Coll. (found in 1786 with the cista No. 743).
Rather rude work. Crest of helmet broken off.
457. Mars or a Warrior. He stands with 1. foot slightly advanced and
1. hand bent inwards as if it had held a shield ; his r. is raised as if it had held a
spear. He is beardless, and wears a crested visored helmet with cheek-pieces
down, cuirass, short chiton and greaves.
Ht. 9J in. Towneley Coll. Rather rude work ; no details given ; crest of helmet
broken off.
458. Warrior. He advances on 1. foot, the r. drawn back ; in 1. hand he has
held a shield, and in r. he has brandished a spear. He is beardless, and wears
helmet with large crest and cheek-pieces turned up, cuirass with two stripes of
herring-bone pattern, thick belt, and short chiton with incised patterns.
Ht. 7f in. Hamilton Coll. 6 b. Slender proportions ; very rude.
64 CATALOGUE OF BRONZES.
459. Warrior. He stands with r. leg bent and r. hand pointing downwards ;
on 1. arm he carries a shield, which only has a central handle, and the r.
hand has held a spear ; in 1. hand he holds a sword (the handle of which
is broken). He is beardless, and wears a helmet with cheek-pieces turned up,
egg-pattern incised over the forehead, and large horse-hair crest ; short chiton to
hips, over which is an elaborate cuirass, formed of overlapping metal plates, with
a double row of flaps over the hips, on which are circles, triangles, chevrons, and
other patterns ; on the shoulder-flaps maeander and other patterns incised.
Eyes pierced ; arms and shield cast separately and added.
Ht. I2| in. Falterona, 1847. Micali, Mon. Incd. pi. 12 ; id. Storia, pi. 39 ; Spec. Ant.
Sculpt, ii. pi. 4; Miiller-Wieseler, Denkm. d. a. Kunst. i. 58, 294; Baumeister, Denkmaler,
iii. pi. 89, fig. 2245 ; Mansell, Brit. Mus. Photographs, No. 803 ; Vaux, Handbook to Brit.
Mus. p. 420; Bull. deW Inst. 1838, p. 67 ; Arch. Zeit. 1847, p. 185 ; Revue Archeol. xxxi.
(1897), p. 330. Incised work very fine and elaborate; altogether a fine specimen of early
Etruscan art. Patina brown except left arm and shield, which are green.
460. Warrior or Armed Runner. He stands with 1. leg bent, and hands on
hips ; he is beardless, and has long hair falling in a mass on the neck ; he wears
a helmet with long crest and chlamys fastened with a brooch in front.
Ht. 3J in. From Viterbo. Payne Knight Coll. Feet lost.
461. Warrior. As last ; greaves, but no chlamys.
Ht. 4 in. Payne Knight Coll.
462. Warrior. He advances on 1. foot, with 1. hand extended ; in r. he has
brandished a spear. He is beardless, and wears a helmet with cheek-pieces
turned up, greaves, short chiton to hips with scolloped border, and cuirass of
chain-mail with belt, fringed skirt of flaps, and shoulder-pieces with incised
network-pattern.
Ht. 9^ in. 1849. Crest of helmet lost.
463. Heracles. He stands with 1. leg bent, looking to his 1. ; he has held
some object now lost in each hand, presumably his club and bow. He is
beardless, and has closely- curling hair (indicated by incised rings), and the lion's
skin tied on his chest, hanging over 1. arm. The muscles of the chest are clearly
defined.
Ht. 7^ in. From Falterona. Campanari, 1847. Micali, Mon. Incd. pi. 15, p. 99;
Mansell, Brit. Mus. Photographs, 807 ; Bull, dell 'Inst. 1838, pp. 67, 69, 1842, p. 180; Arch.
Zeit. 1847, p. 185. In fine condition, with a beautiful green patina. The treatment is hard
but forcible, as often in Etruscan bronzes. Late archaic period.
For the circumstances of the discovery of these Falterona bronzes, see Micali, loc. cit.,
and Dennis, Etruria,2 ii. p. in.
464. Heracles. He stands with r. leg drawn back, and has held up his club Plate XIII.
in r. hand ; he is beardless, and wears the lion's skin over his head and back,
fastened with a clasp round the waist in front, like a coat ; the paws arc tied
together on his chest, and he holds the tail in 1. hand.
Ht. 4| in. From Umbria. Castcllani, 1873. Feet lost ; coarsework and rather corroded.
ARCHAIC ETRUSCAN BRONZES. 65
465. Heracles. He stands with feet together, the 1. rather in advance, with
club in r. hand over his shoulder ; he is beardless, and wears the lion's skin as in
the last example (tail not held up in 1. hand).
Ht. 2 J in. Blacas Coll., 1867. Small ancient base.
466. Heracles. He stands with 1. foot advanced and arms extended, as if
about to draw his bow ; he wears a close-fitting cap, and the lion's skin with a
long flap falling down the side of each thigh ; over his 1. arm hangs the tail.
Ht. 3| in. Castellani, 1873. Much corroded and worn ; right fore-arm lost. Ancient
base.
467. Heracles and Artemis contending for the Keryneian stag ; group in
relief. The stag crouches to 1. in the centre, with head to the front ; Heracles
on the 1. seizes its r. horn with 1. hand, and Artemis on the r. seizes its 1. horn
with her 1. Heracles brandishes his club in r. hand, and wears the lion's skin
tied in front ; Artemis moves to 1., and wears a short chiton, head-dress, and
quiver at 1. side. Behind the stag is a situla (?) ; the figures rest on the edge of
a large reversed palmette.
Ht. 4§ in. Arch. Zeit. 1846, p. 220. Much corroded ; details difficult to make out.
468. Marsyas reclining. He reclines on 1. side, looking to the front ; his 1.
arm rests on a cushion, the hand holding a pair of flutes, and his r. hand is
placed on his thigh. He wears a himation over lower limbs, and shoes ; he has
Satyr's ears, a large moustache and beard arranged in formal parallel curls, and
smooth hair falling in a flat mass down the back, carefully rendered.
Ht. 2-1 in. Length 5 -J in. From Pistoia. Payne Knight Coll. (lxvi. 1). Gori, Mus.
Etr. i. pi. 63, fig. 2 ; Trans. Roy. Soc. Lit. Ser. 2, xi. p. 192, pi. 3. Compare also the coins of
Apamea in Phrygia (Mionnet, Suppl. vii. p. 512, No. 159).
469. Satyr reclining. He lies on 1. side, and his hands are extended with
open palms ; he has horse's hoofs.
Ht. 1 4 in. Hertz Coll., 1859 {Cat. 359). Fine patina.
470. Pan playing on the syrinx, in relief. He squats to the front, holding
the syrinx to his mouth with both hands ; he is bearded and has goat's horns,
ears, and legs ; he wears an am pyx with incised patterns.
Ht. 3v in. Payne Knight Coll. (lxvi. 3). On either side has been an ornament, which
is broken off.
471. Satyr. He stands with r. foot drawn back, r. hand downwards, 1. hand
raised and extended ; he has long hair down his back, and is ithyphallic.
Ht. 3-f in. Small ancient base ; on the head is the lower part of a spike, perhaps forming
part of a candelabrum.
472. Satyr. He stands with 1. leg bent, leaning over to his 1., with r. hand
raised to his head and 1. on thigh ; he wears a fawn-skin stippled all over, with
the feet knotted at his throat.
Ht. 4l in. Towneley Coll. Ancient base. Tail broken off.
F
66 CATALOGUE OF BRONZES.
473. Sayr. He moves to his L, looking back, with arms raised; he has
horse's hoofs, a long tail, and a thick mass of long hair down his back.
Ht. 4f in. Chiusi, 1862. Micali, Mon. Ined. pi. 17, fig. 3. Right hand lost and fingers
of left broken. Ancient base.
474. Satyr. He stands with 1. leg advanced ; in 1. hand he holds a wine-skin
over 1. shoulder, and his r. hand is raised, palm outwards, with a gesture of
deprecation.
Ht. 5l in. Blacas Coll., 1867. Ancient base.
475. Satyr, in relief, squatting with one foot held up in either hand ; feet in
form of horse's hoofs.
Ht. 1 1 in.
476. Head of Satyr. Long pointed beard and hair rolled over forehead, falling
in thick masses behind.
Ht. 1 \ in. Careful work.
477. Head of Satyr, winged.
Length \\ in.
478. Bust of Satyr, with grinning face, holding up a hand on each side of
the head ; drapery over shoulders ; below, in front, volutes.
Ht. 1 in.
479. Satyric Mask, perhaps from the soffit of a lacunar. The eyes are
in white enamel, with pupils in yellow ; the beard is long, and is carefully
rendered in repousse, as are also the hair and moustache.
Ht. 7fin. 1864.
480. Eos carrying off Kephalos. She moves to r., with r. foot bent and face
to the front, looking downwards ; she carries Kephalos in both arms, supporting
him under the 1. side with her 1. ; his hands are extended upwards, and he is
nude and beardless, with long floating hair. Eos has long thick hair, and
wears a fillet, long girt chiton with looped-up sleeves, himation falling in
pteryges on the r. side, and shoes ; her wings are spread.
Ht. 3! in. Millingen Coll., 1847. Mansell, Brit. Mus. Photographs, 809. Ancient
base ; patina.
481. Eos carrying off Kephalos. As the last ; Eos has a bordered himation,
and boots with patterns up the front.
Ht. 4% in. Mon. delV lust. iii. pi. 23; Ann. 1840, p. 152; Mansell, Brit. Mus.
Photographs, 809. Small ancient base ; beautiful green patina ; fine markings on the wings.
482. Typhon, ending in two serpents below the waist ; they have bearded
heads, one of which he holds up with either hand.
Ht. I in.
ARCHAIC ETRUSCAN BRONZES. 6?
483. Head of Acheloos. Hair and beard carefully treated ; long moustache
forked cither side.
Ht. 2 in. Good archaic work. Square socket at back for fixing on a pole.
484. Head of Acheloos, winged.
Ht. if in. Good archaic work. Ring on top.
485. Triton, in a reclining attitude, with head to 1., and r. hand extended ; he
is bearded, and his hair falls in a thick flat mass down the back ; the body ends
in a fish-tail, with pectoral and dorsal fins ; pupils of eyes incised.
Ht. 3I in. Length 5 in. Borrell Sale, 1852. Has been fixed to some object.
486. Medusa, in fiat repousse relief. She wears a long sleeved chiton, and
has tongue protruding, and hair in thick curls over the forehead, with long
tresses extending on either side of the head and supported by the outstretched
arms ; the body ends in a bird's foot with four claws.
Ht. 8 in. Millingen Coll., 1847. The antiquity of this object is open to doubt.
487. Group of Two Gorgons. The one on the r. has two long tresses
over each shoulder, himation over 1. shoulder, and endromides with large tags ;
she extends r. hand to the other, and holds some object in 1. The other has
similar tresses and winged endromides; they appear to -hold some object
between them.
Ht. 4x in. Very much corroded, and details difficult to make out. Right arm of second
Gorgon lost. The figures are supported by a stand, also of bronze, with astragalus moulding,
and volutes below.
488. Mask of Gorgon, in a medallion, with grinning mouth.
Ht. 1 1 in. Has formed the lower part of a vase-handle (?).
489. Gorgon. She runs to r., in the archaic manner, with hands held up and
wings spread ; she has curly hair with a fringe in front, falling in a mass of
elaborate curls down the back ; her face is to the front, with protruding tongue.
She wears a fillet with three rosettes, necklace, short close-fitting sleeved chiton,
and endromides with tags.
Ht. 2| in. Feet restored.
490. Siren. The hair falls in a mass at the back, with a fringe on the forehead,
and is confined by a fillet with three rosettes in front ; the wings are crossed
over the tail, and the feathers on the breast are carefully indicated. At the
back of the head is a handle ending in a snake's head, as if in imitation of a jug.
Ht. 3! in. Kestner Coll., 1839. Mon. deW Inst. ii. pi. 29 ; A/inali, 1836, p. 58 ; Abeken,
Mittelitalien, pi. 7, fig. 3.
491. Winged Victory. She moves to 1. in the archaic running manner ; her Plate XIV.
wings are spread and recurved, and in r. hand she holds out some object, while
with 1. she catches up her skirt. Her hair floats behind in a thick mass, with long
curls falling over the shoulders, and she wears an ampyx with incised patterns and
F 2
68 CATALOGUE OF BRONZES,
himation falling in pteryges over r. shoulder. The feet rest on a stand, which may
be a rough representation of a ship, with a triple ram on the 1., and part of the
aphlaston on the r.
Ht. 6} in. Payne Knight Coll. Murray, Greek Bronzes, p. 17 ; Athen. Mittheil. xi.
(1886), p. 373. The figure is very flat at the back.
492. Female Deity. She stands with feet together and hands extended ; Plate XV.
her hair falls in a straight mass behind, with curls over the forehead, and she
wears a spJiendone or raised crown, long sleeved chiton, himation with lozenge-
border over shoulders, falling in pteryges, and shoes with turned-up toes.
Ht. \\\ in. 1873. Much corroded ; hands injured and sphendone broken.
493. Female Deity. She stands on a plinth supported by two seated lions,
with two rams' heads at the back ; her 1. foot is slightly advanced, her r.
hand has been extended, and with 1. she holds up her skirt. Her hair falls in
a thick mass behind, with tresses on the shoulders, and plaits fastened up with
rosettes over the forehead ; she wears a beaded fillet, necklace with bulla, long
chiton, and himation over r. shoulder falling in stiff pteryges.
Ht. 85 in. Right hand lost ; corroded. Arch. Zeit. 1846, p. 221.
494. Winged Female Figure. She stands with 1. foot slightly advanced,
holding up a fruit in r. hand, while with 1. she holds up her skirt in the attitude
characteristic of Spes ; she has wings spread, straight smooth hair, beaded fillet,
polos, long bordered chiton, and himation over r. shoulder, falling in pteryges.
Ht. gi in. High ancient base, with three branches attached, ending in ivy-leaves above.
Right wing and polos broken.
495. Winged Female Figure. She moves to r., in the archaic running
manner, with face to front ; r. arm downwards, 1. elbow resting on knee with
hand raised. She has long hair falling in a thick mass on each shoulder ; she
wears a flat cap with egg-pattern round the brim, and short bordered chiton with
a stripe of chevrons down the front, and thick girdle.
Ht. 4! in. Blacas Coll., 1867. Left foot lost. Reinach, Repertoire, ii. p. 808, No. 1.
496. Female Figure of archaic type, almost like a xoanon. She stands with
feet together and hands extended, the r. palm upwards ; in the 1. she has
held a bird (?). Her hair is parted and falls in a thick mass behind, tied at the
neck ; she wears a long girt chiton. In general characteristics this figure
resembles the tufa figure from the Polledrara tomb (Micali, Man. Ined. pi. 6, 1).
Ht. \\ in. Millingen Coll., 1836. Manscll, Brit. Mits. Photographs, No. 741, fig. 1.
497. Female Deity. She stands with feet together, and r. hand held up ;
her hair falls in straight tresses, and she wears a high peaked cap, long sleeved
chiton and himation over shoulders, both with rich borders, and laced boots ;
with 1. hand she draws aside the skirt of her chiton.
Ht. 6^ in. Perugia, 1838. Manscll, Brit. Mus. Photographs, No. 806, fig. 1. A similar
figure, now in Berlin, is given in Micali, Antichi Moan moiti, pi. 15. Right hand broken off.
ARCHAIC ETRUSCAN BRONZES. 69
498. Man and Woman Embracing. The man stands with 1. foot advanced,
and places r. arm on the r. shoulder of the woman on his 1., looking round at
her ; his 1. hand is placed on her 1. shoulder from behind. He has long hair,
beard and moustache, and wears a sphendont, shoes, and himation over 1.
shoulder, falling in pteryges. The woman turns to him, placing r. hand on his
r. shoulder ; with 1. hand she holds up her skirt with the action characteristic
of Spes. She has rather short hair rolled up over a spliendone, shoes, long
chiton with sleeves to the elbow, the upper part embroidered, and himation over
r. shoulder, falling in pteryges, and decorated with trefoils.
Ht. 4| in. Payne Knight Coll. Spec. Ant. Sculpt, i. pi. 4 ; Gerhard, Ant. Bildw. pi. 302,
figs. 4, 5 ; Reinach, Repertoire, ii. p. 17, No. 6 ; Bernoulli, Aphrodite, p. 47, no. 31, identifies these
figures as Aphrodite and Ares. Finely-executed and graceful work. Small square ancient base.
499. Male Figure. He stands with r. foot drawn back, r. hand extended,
1. on hip ; he is beardless, with hair rolled up at the back under a fillet which has
three rosettes in front, and wears shoes with turned-up toes.
Ht. 4| in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Small
ancient base, in which are two holes for attachment, on a high plinth. Good patina.
500. Athlete. He stands with r. leg drawn back ; his 1. hand is held down-
wards, and in r. is a stone (?) ; he is beardless, with hair drawn down over the
forehead and falling in a thick mass behind.
Ht. 3jin. Blacas Coll., 1867. Ancient base ; green patina.
501. Athlete. He stands with r. foot drawn back, r. arm raised, and 1. by
his side ; he is beardless, and wears a conical cap.
Ht. 4iin. Blacas Coll., 1S67. Right hand lost ; very rude work.
502. Athlete with Diskos (?). He stands with 1. foot drawn back, holding
up the diskos in r. hand ; in 1. he holds up some other object ; he is beardless,
and wears a sort of cap (?) covering the head and shoulders.
Ht. 3f in. Castellani, 1873. Rude work ; small ancient base.
503. Athlete. He stands with 1. foot advanced and hands slightly extended ;
he is beardless, and his hair is rolled up at the back.
Ht. 3iin. Blacas Coll., 1867. Patina ; rather corroded.
504. Athlete with Diskos. He stands with 1. leg advanced, holding the
diskos in r. hand, 1. behind his back ; he is beardless, with fillet, and a thick
mass of hair falling on the back of the neck.
Ht. 4$ in. Towncley Coll. Very rude work.
505. Athlete. He stands with 1. foot advanced, holding out both hands
together in front as if clasping some object in them ; he is beardless, with a thick
mass of hair rolled up at the back.
Ht. ^ I in.
70 CATALOGUE OF BRONZES.
506. Actor. He stands with feet together and arms akimbo ; he has a long
pointed beard and long hair in a flat mass of curls down the back ; he wears a
conical cap and short chiton to the hips.
Ht. 3s in. Payne Knight Coll. (lxxvii. 5).
507. Grotesque Figure. He stands with hands placed on his stomach ; he is
beardless, and has a large nose ; on his head is a sort of loop.
Ht. 2f in. Bequeathed by Sir W. Temple, 1856. Feet lost ; very rude work.
508. Group of two youthful Gymnasts. One leans right back, with hands Plate XII.
raised and fists clenched ; his head rests on that of the other, who stoops
down on tiptoe in the opposite direction, with hands extended. The second
wears a short girt chiton, and has long hair divided into two masses, the ends
of which the other holds in each hand.
Ht. 3|- in. Hertz Coll., 1859 {Cat. 795). Has formed the handle of a vase.
509. Male Figure. He stands with feet together, r. hand extended, and 1. Plate XVI.
placed on side ; he is beardless, and his hair is rolled up on the neck behind,
falling in a thick mass over the forehead ; he wears a fillet, himation over 1.
shoulder falling in pteryges, with border of chevron-and-dot pattern, and
endromides with pointed toes, laced up the front and elaborately embroidered.
Ht. 6-| in. From Pizzirimonte near Prato, Tuscany. Payne Knight Coll. (xcvii. 1).
Gori, A/us. Etr. i. pi. 2 ; Mansell, Photographs in Brit. A/us. 804. Exquisite patina ; fine
archaic work, the hair and eyes especially being very delicately rendered.
510. Male Figure (Apollo ?). He stands with 1. foot slightly advanced, and
hands straight down by his sides ; he is beardless, with long hair falling in
two plaits over each shoulder and a row of long formal tresses down the back.
Ht. 81 in. From Chiusi. Castellani, 1873. Reinach, Repertoire, ii. p. 78, No. 5.
Ancient base in which are four holes for attachment. The figure is very archaic in style,
resembling the so-called Apollo of Tenea and similar statues.
511. Male Figure. He stands with 1. foot advanced and hands straight
down by his side ; he is beardless, and his hair falls in a flat mass behind,
confined with a fillet, with a row of formal curls over the forehead.
Ht. 8^ in. The arms have been made separately and attached. Very archaic.
512. Male Figure. He stands with 1. leg slightly advanced ; his r. hand has
held a spear (?), and his 1. holds a fragment of some object. He is nude and
beardless, and his hair is drawn down over the forehead in elaborate spiral
curls (fcepaTa) and closely curled over the head, falling in a thick mass on the
back of the neck.
Ht. iOg in. From Chiusi. Castellani, 1873. Fine patina ; slightly archaic. Feet lost.
ARCHAIC ETRUSCAN BRONZES. 7 1
513. Male Figure. He stands with 1. foot slightly advanced and r. hand
raised, and has held up some object in either hand ; he is nude and beardless,
with a thick mass of closely-curling hair.
Ht. 8| in. Hamilton Coll. 9. Micali, Mon. Died. pi. 11, fig. 2; Reinach, Repertoire,
ii. p. 87, No. 1, p. 202, No. 7 ; Mansell, Brit. Mus. Photographs, No. 804. Patina.
514. Male Figure (,EyxPl°lJ'€V0<i)- He stands with 1. foot slightly drawn back, Plate XVI.
holding out an alabastron in r. hand ; 1. hand held downwards with open palm
to receive the oil. He is nude and beardless, and has long hair combed down
in front over a fillet and plaited at the back in two long plaits, brought round
the head and fastened in front (the KpcoftvXos according to Schreiber in A then.
Mittheil. viii. (1883), p. 246 ff., but see Studniczka in Jahrbuch, xi. (1896),
p. 248 ff.).
Ht. 9J in. From Southern Italy. Payne Knight Coll. (ii. 1). Spec. Ant. Sculpt, i.
pi. 15 ; Monuments Crecs, ii. No. 23 (1895-7), pi. 15, p. 1 (traced to the Argive school of
sculpture) ; Sitzungsber. d. k. buyer. A hid. d. Wiss. Phil.-hist. CI. 1897, ii. pt. 1, pi. 6, p. 129 ;
Reinach, Repertoire, ii. p. 91, No. 7. Fingers of left hand injured. Patina ; good archaic
style ; according to Furtwaengler {pp. cit.), an Ionic-Attic work of 480-470 B.C. Ancient base ;
on the head, the support of a mirror with volute patterns.
515. Male Figure. He stands straight with hands extended ; he is beardless Plate XVI.
and wears a conical cap of rough skin. On his head is an indication that the
figure has formed the support of a mirror.
Ht. 7i in. Payne Knight Coll. (ii. 2). Found in 1790 in a garden near Rome, together
with No. 548. Sitzungsber. d. k. bayer. Akad. d. Wiss. Phil.-hist. CI. 1897, ii. pt. 1. pi. 5,
p. 127 ; Murray, Greek Bronzes, p. 23. Fingers of both hands injured. Good late archaic style,
by Furtwaengler {op. cit.) traced to Ionic-Attic work of 480-470 B.C. Ancient base.
516. Male Figure. He stands with 1. foot advanced, holding out a ball or
fruit in r. hand ; he is beardless, with hair in formal curls over the forehead and
falling in a mass of formal curls on the back of the neck.
Ht. 7 in. Micali, Mon. Ined. pi. 11, fig. 1 ; Reinach, Repertoire, ii. p. 222, No. 7. Right
foot lost ; left hand injured. Rude in style and in bad condition.
517. Male Figure. He stands with feet close together and hands close by
his sides ; he is beardless, with hair falling in a straight flat mass on the
shoulders, and wears a pctasos.
Ht. \\ in. Hamilton Coll. ; formerly in Gaddi Coll., Florence. Micali, Mon. Ined. pi. 17,
fig. 1 ; Reinach, Repertoire, ii. p. 80, No. 3. Coarse workmanship. Ancient base.
518. Male Figure. He stands with 1. foot advanced and 1. hand extended ;
his r. hand is raised and has held a spear. He is beardless and has thick
smooth short hair and large coarse features ; the eyes are pierced.
Ht. 10? in. Jahrbuch, vii. (1892), p. 137, note 23.
72 CATALOGUE OF BRONZES.
519. Male Figure. He stands with 1. foot advanced and r. drawn back ; in r.
hand he holds a sickle (?), 1. extended ; he is beardless, with long hair rolled
up at the back.
Ht. 3l in. Hertz Coll., 1859 {Cat. 575). ;
520. Male Figure. He stands in a stiff attitude, with hands on hips and
upturned face ; his hair falls in a thick flat mass on his shoulders, and he wears
a conical cap with ear-flaps.
Ht. \\ in. Rude work.
521. Male Figure. As the last, but not so rude, and in better condition.
Ht. 3f in. Payne Knight Coll. (xcvii. 9). Mansell, Brit. Mus. Photographs, No. 741,
fig- 3-
522. Male Figure. He stands with 1. hand by his side, holding out an egg (?) Flate XII.
in r. ; he is beardless, and wears conical cap, himation over 1. shoulder, and
shoes with pointed turned-up toes ; his hair falls in a thick flat mass behind.
Ht. 4l in. 1864. Mansell, Brit. Mus. Photographs, No. 806, fig. 2. Small ancient base.
523. Male Figure. He stands with r. hand held down, palm outwards ; he
is beardless, with hair falling straight to the neck, and wears shoes, and a
bordered himation over 1. shoulder, in which his 1. arm is muffled.
Ht. 4! in. Millingen Coll., 1847. Has been attached to some object; on the piece for
attachment is a moulded tongue-pattern.
524. Male Figure. He stands with r. leg drawn back, resting on 1. foot; his
hands hang by his side, and under 1. arm he holds some iron object too corroded
to make out. He is beardless, and his hair falls in flat masses down the back ;
he wears a petasos, on the top of which is a sort of crest, through which passes a
ring for suspension.
Ht. 8^ in. Much corroded ; left arm much injured.
525. Male Figure. He stands with feet together and hands down by his side ;
he is beardless.
Ht. 4 in. Millingen Coll., 1847. Rather rude; elongated proportions.
526. Male Figure. He stands with r. foot drawn back and 1. leg slightly
advanced, his hands held up somewhat in the manner of the Diadumenos of
Polycleitos ; he is beardless, with closely-curling hair, and infibulated phallos,
and wears a garment twisted round his waist. This figure may represent a boxer.
Ht. 2>l in. Castellani, 1873. Ancient base.
527. Male Figure. He stands with feet close together ; he is beardless, and
wears a conical cap with thick brim, on which are two ears or projections, long
chiton, and himation in which 1. arm is muffled.
Ht. 4} in. Right hand lost. Very rude.
ARCHAIC ETRUSCAN BRONZES. 73
528. Female Figure. She stands with feet close together, r. hand slightly-
extended, 1. on hip ; she wears a peaked cap with brim, long chiton, and shoes
with turned-up toes.
Ht. 4] in. Payne Knight Coll. (xcvii. 2). Mansell, Brit Mies. Photographs, No. 806,
fig. 3. Somewhat Phoenician (?) in style.
629. Male Figure. He stands in a stiff attitude, with 1. foot slightly advanced,
and hands on hips ; he is beardless, and his hair is treated in an Egyptian
fashion over the forehead and back of neck.
Ht. 6 in. Hamilton Coll. 92. Somewhat Egyptian (?) in character.
530. Male Figure (Heracles ?). He stands with 1. leg advanced, r. hand bent
in front of body, and 1. hand extended ; he is bearded, with hair looped up
at the back.
Ht. 2% in. Blacas Coll., 1867. Feet and left hand lost.
631 Group of Two Men. The one on the 1. stands on 1. leg, with 1. hand
on hip and r. placed on the other's shoulder ; he is bearded, and wears a crested
helmet with cheek-pieces turned up, and chlamys fastened with a brooch in front.
The other is beardless, with long hair, fillet, and chlamys ; he stands on 1. leg,
with r. hand on breast.
Ht., with base, 3I in. Hertz Coll., 1859 {Cat. 573) ; see Cat. of Hertz Coll., 185 1, pi. 4,
fig. 1. Ancient base. Corroded.
532. Two Men in Combat, forming an ornament of a vase or other object,
in relief. The one on the 1. (Heracles ?) wears a skin ; the other is bearded, and
has a short chiton and shield ; each brandishes a sword or club in one hand over
his head. Below is a border of leaves and buds inverted, united by volutes.
Ht. 2 in. Towneley Coll.
533. Female Figure. She stands with 1. foot advanced, both feet flat on the
ground ; hands extended, the r. pointing with fore-finger and thumb and
the 1. clenched. Her hair is arranged in elaborate curls over the forehead and
rolled up over a fillet at the back ; she wears shoes with turned-up toes and a
himation over 1. shoulder tightly drawn round the r. side, and falling in carefully-
rendered folds on the 1. ; it is smooth at the back, and is weighted at the ends.
Ht. 4g- in. Montagu Taylor Sale, 1897. Patina on the drapery, which is only slightly
archaic in style ; hair very carefully treated.
534. Female Dancer. She stands on the r. foot, the 1. being raised behind Plate XII.
her, and looks down to r., with r. hand held up and 1. placed on hip ; she wears
a long woollen chiton scliistos girt at the waist, the deep folds indicated by wavy
lines ; down the r. side is a seam ; her hair is rolled up all round in a thick
mass of plaits meeting on the forehead.
Ht. 4| in, Payne Knight Coll. (lxxvii. 9).
74 CATALOGUE OF BRONZES.
535. Female Figure. She stands with 1. leg slightly advanced, r. hand
extended, and 1. placed on hip ; she has two rows of curls over the forehead, and
wears a peaked cap, spheudont, earrings, necklace, and long Ionic chiton.
Ht. 4| in. Feet broken.
536. Female Figure. She stands with feet together and 1. hand muffled in
drapery ; her hair is gathered in a formal mass behind, and she wears a wreath,
long chiton, and himation over 1. shoulder, embroidered with stars ; the eyes are
pierced.
Ht. 5l in. Millingen Coll., 1847. Right fore-arm lost. The figure stands on a high
circular plinth with flat square top (original).
537. Female Figure. She leans backwards, with hands straight down by her
sides ; her hair falls low down on the forehead and in long parallel wavy
tresses behind ; she wears close-fitting drapery (?) and shoes with turned-up toes.
Ht. 3i in. Coarse work ; very flat. Original base.
538. Female Figure. She stands with 1. foot advanced, r. hand on hip, 1.
extended palm upwards ; she wears a peaked cap, long sleeved chiton with
border of chevrons and circles, and shoes with turned-up toes.
Ht. 4j in. Hamilton Coll. 85. Very rude.
539. Female Figure in relief. It has been attached to some piece of furniture,
with a spike for insertion, on which is a large lotos-bud ; on this the figure
moves to r. in the archaic running manner, with hands on her knees ; she wears
a tutulus, long chiton and himation with borders, and shoes with turned-up toes.
Ht. 45 in. Todi, 18S7.
B. ARCHAIC ETRUSCAN MIRRORS (540-553).
540. Satyr and Maenad. On the 1. a nude ithyphallic Satyr plays on the
double flutes ; he stands on r. leg, and with 1. keeps time to the music ; his
face is obliterated. Before him dance a Maenad and a Satyr to 1., the Maenad
looking to r., with r. hand raised ; she wears bracelets, shoes, and long sleeved
chiton and himation over r. shoulder ; her chiton does not cover the pubes. The
Satyr is bearded and ithyphallic, and wears a fillet and panther's skin ; he raises
1. arm over his head, and with r. endeavours to grasp the Maenad.
Diam. (j\ in. Ht. 9 in. 1853. Gerhard, Etr. Spiegel, iv. p. 8, Paralipomena, 236^* ;
v. pi. 38, p. 49. Fine archaic style. In exergue, palmette and tendrils ; round the design,
ivy-wreath. The surface is much damaged by corrosion and the details obscured.
541. Woman between two Men. In the centre is a woman to 1., holding
up her skirt with 1. hand ; she wears a tutulus and himation. Confronting
her is a bearded man gesticulating with both hands as if conversing ; he wears
a conical cap and chlamys. On the r. is a beardless man with r. foot advanced,
gesticulating with r. hand, of which the fore-finger is extended ; he wears a
chlamys over 1. arm, and in 1. hand is a myrtle-branch. On the extreme 1. is a
ARCHAIC ETRUSCAN BRONZES. 75
plant with poppy-like flowers in fan-shaped bunches, on which is perched a dove ;
in the exergue, a vine. Round the design, myrtle-wreath, springing from a
palmette on the handle.
Diam. 4| in. Ht. 6f in. Townelcy Coll. Gerhard, Etr. Spiegel, iv. pi. 414, 2, p. 74 ;
Byres, Hypogaei of Tarquinia, part 5, pi. 7. A fine specimen of severe archaic drawing.
542. Heracles carrying off Malache (design in low relief). Heracles Plate XVIII.
stoops forward and lifts Malache off the ground on to his 1. shoulder, having
locked his 1. arm round her waist ; in r. hand is his club. He is beardless,
and has short elaborately-curled hair, carefully rendered, confined with a fillet ;
he wears a short chiton fastened up round the waist and the lion's skin tied at
the throat, the end of its tail tied in a knot. In the field are his quiver and bow ;
below him is incised 3J^^3Q^H, Herecele. Malache appears to be resisting him,
and moves away with 1. foot raised ; her r. hand is placed on his waist and 1. hand
on his head. Her hair is gathered up under a double spliendone', with two rows
of curls in front ; she wears a sleeved woollen chiton and himation with border of
chevrons and dots, falling in rich folds, at the ends of which are weights. Below
her is inscribed: |V>Ayw|, Mlacuch. Round the design, a band of elaborate
palmettes.
Diam. 7 in. Hamilton Coll. Lanzi, Saggio, ii, p. 163 ; Gerhard, Etr. Spiegel, iv. pi. 344,
p. 88, and iii. p. 147, see pis. 159, 160 ; Byres, Hypogaei of Tarquinia, part 5, pi. 8 ; Braun,
Tages, pi. 3 ; Jahn, Arch. Aufs. p. 122 ; Panofka, Die Malachisch, pi. 2, 1, p. 226 {Berl. Akad.
Abhandl. 1846) ; Gerhard, Schmiickung d. Helena,^. 9, note 40; Moses, Antique Vases, etc.,
pi. 66 ; Vaux, Handbook to Brit. Mns. p. 422 ; Roscher, Lexikon, ii. p. 3074 (s.v. Mlacuch) ;
Murray, Greek Bronzes, p. 37 ; Friederichs-Wolters, 198 ; Corssen, Sprache der Etrusker, i.
P- 339 ; Fabretti, C. I. Ital. 2528. Also a print in the British Museum (Greek and Roman
Antiquities, Departmental Library). The subject is not otherwise known, but the type appears
to have been that of Peleus and Thetis (see Brit. Mus. Cat. of Vases, ii. p. 25). Gerhard
connects Malache with Malacisch, a name associated on mirrors with bridal toilet scenes, and
therefore probably an epithet of a bride. This mirror is a very fine specimen of archaic
Etruscan work ; the figures are carefully modelled, and the bronze in very fine condition. The
hair is worked in wavy lines of minute globules. On the handle, at the back, a palmette.
543. Winged Aphrodite and Erotes, or perhaps a goddess between two
worshippers (cf. Collignon, Hist, de la Sculpt. Grecque, pp. 233, 379). In the
centre is Aphrodite to 1., with 1. arm bent back over her shoulder, holding
up her skirt in r. hand ; she has long hair confined by a fillet, bracelet on 1.
arm, and drapery over lower limbs with border of dots, and winged endromides.
From her hips spring two pairs of wings, recurved at the ends ; below her, in
the exergue, is a low stool. On either side confronting her is a diminutive
male figure, with long hair and fillet, extending both hands towards her ; they
wear shoes with turned-up toes, and the one on the r. holds an olive branch
in 1. hand. Round the design are a plait-band and a wave-pattern.
Diam. 5! in. Found at Palestrina, 1872. Castellani, 1884 {Sale Cat. No. 418). Mon.
dell' fust. ix. pi. 56, fig. 1 ; Ann. 1873, p. 126 ; Bull. 1873, P- 8 ; Gerhard-Korte, Etr. Spiegel,
v. pi. 12, p. 18 ; Murray, Greek Bronzes, p. 34. Archaistic style and good drawing ; found with
another of late free style. For unwinged Erotes, cf. Gerhard, Etr. Spiegel, iv. pi. 399, and
Kortc, ibid. v. pi. 20. Handle broken off.
j6 CATALOGUE OF BRONZES.
544. Heracles and the Hydra. Heracles on the r. moves to I., looking P^ate XVII.
back, and brandishing his club in r. hand ; his 1. is bent round, holding two
apples (unless the nostrils of the lion are here seen through his hand). He
is. beardless, and his hair is arranged in close curls ; over his 1. arm is the
lion's skin, and between his feet is his quiver. He is inscribed BEDKVE, Herkle.
On the 1. Athene moves to 1., looking back, with arms drawn up in an attitude
of surprise ; in 1. hand she holds a spear, across the lower end of which are ten
small cross-bars. She has rich flowing hair confined with an ampyx, and
recurved wings ; she wears two pairs of armlets, long chiton and peplos hanging
from her arms in pteryges, and aegis with Gorgoneion, on either side of which is
a snake. She is inscribed Anqana^, Menerfa. On the extreme 1. are seen
three heads and part of the coils of the hydra, preparing to attack them.
Length 1 1 ~ in. Diam. 6 j in. From Perugia. Towneley Coll. Gerhard, Etr. Spiegel, ii.
pi. 134, iii. p. 129; Dempster, Etr. Regal, pi. 6; Gori, Mus. Etr. ii. p. 411 ; Millin, Gal.
Myth. ii. pi. 172 bis, p. 249, no. 436 ; Moses, Antique Vases, etc., pi. 67 ; Byres, Hypogaei of
Tarquitiia, part 5, pi. 7 ; Passeri, Paralip. ad Dempster, p. 28 ; Lanzi, Saggio, ii. 7, p.
162, pi. 11, no. 1 ; Vaux, Handbook to Brit. A/us. p. 421 ; Conestabile, Monuiu. di Perugia, iv.
pi. 77 = 103, fig. 1, p. 462, No. 690 ; Vermiglioli, Iscriz. Perugine, pi. ii. 2, p. 52 ; Fabretti, C. I.
Ital. 1063. The handle is in the form of a club, ending in a lion's head. Round the design
is an ivy-wreath with berries ; in the exergue, a band of hatched triangles, with a flat palmette
below. The drawing is unusually fine, with traces of archaism, and may be compared with the
red- figured vases of the "strong" period; for a mirror of similar style, see Mus. Greg. i.
pi. 36, fig. 2.
545. Orion crossing the Sea. He runs in the archaic manner to r., looking
back ; he has long hair, and markedly Etruscan features (cf. Brit. Mus. Cat. of
Vases, ii. B 61-64). Below him the ocean is indicated by a wavy line and seven
fishes swimming to 1. Round the design, an ivy wreath.
Diam. 6\ in. Payne Knig! t Coll. 82. Inghirami, Mon. Etr. ii. pi. 90, p. 758 ; id. Un
Spccchio mistico, Fiesole, 1825, with plate ; Gerhard, Etr. Spiegel, iv. pi. 289, fig. 2, p. 21.
Handle lost; good patina.
546. Aphrodite and Eros. Aphrodite stands to 1., with r. foot advanced,
holding a flower in 1. hand and presenting another with r. to Eros. She wears
a coif twisted round her hair, earrings, long chiton, and himation with border of
dots and small weights at the points of the folds. Eros wears a fillet, and holds
a mirror in r. hand and a flower in his outstretched left ; he has no wings ; at
his feet is a dog fawning upon him. In the exergue, a cock and a mouse (?),
both to 1. On either side of the design, an ivy-branch.
Diam. 5I in. From Chiusi. Castellani, 1873. Gerhard- Korte, Etr. Spiegel, v. pi. 14,
p. 20. Cf. Longperier, Notices des bronzes du Louvre, No. 170, p. 40. Careful execution.
547. Winged Goddess, forming the stand of a mirror or handle of a patera. She
stands on 1. leg with r. hand by her side and 1. hand behind her; her hair is
arranged in parallel plaits gathered up at the back. She wears a twisted
bracelet on r. arm, shoes, long chiton, and himation drawn closely round her ;
the breasts are left bare. On her head is the support of the mirror, formed of
ARCHAIC ETRUSCAN BRONZES. 77
two long leaves ending in rosettes ; below is a small base supported by two
dolphins standing on their tails.
Ht. 10 in. Towneley Coll. Wings cast in one piece and attached by a nail.
548. Stand of Mirror, in the form of a Female Deity. She stands with 1. foot
slightly advanced, holding up her skirt with 1. hand in the attitude characteristic
of Spes ; in r. hand she holds up a Sphinx seated to r., with face turned to the
front, long hair, polos on head, and wings recurved. On each shoulder is a
similar Sphinx standing on hind legs holding up the support of the mirror, in
the middle of which is a palmette. The goddess has long curly hair falling in
a wavy mass behind, with tresses on the shoulders, and wears a beaded fillet, long
chiton, himation falling in pteryges on r. side, and shoes with turned-up toes.
Ht. 9 \ in. Payne Knight Coll. (lxii. 4). Found in a garden near Rome, 1790 (see
No. 515). Spec. Ant. Sculpt, ii. pi. 6 (the ape under the figure in this engraving does not
belong here) ; Reinach, Repertoire, ii. p. 328, No. 4 ; Bernoulli, Aphrodite, p. 45, No. 27 ; Korte
in Arch. Studien H. Brunn dargebracht, p. 29. Tails of both Sphinxes on the shoulders lost.
549. Stand of Mirror, forming figure of Aphrodite. She stands with 1. foot
slightly advanced, and holds a pomegranate in r. hand, while with 1. she holds
up her skirts in the Spes attitude ; on each shoulder stands a lion supporting the
mirror with fore-paws, its head thrown back on its r. side and turned to the front.
Aphrodite has long hair parted and falling in thick masses down the back ; she
wears a broad fillet, long sleeved chiton of crinkled material, and himation with
maeander border over r. shoulder, falling in pteryges : the hair is finely rendered.
Ht. 9 in. Payne Knight Coll. (Ixxii. 4). The mirror is supported by a pad on the head
of the figure.
550. Stand of Mirror, formed by a figure of Aphrodite (?). She stands
with r. foot advanced and 1. hand slightly extended, holding out a fruit in r.
hand ; her hair is parted and rolled up all round, and she wears a fillet, long
under-girt chiton, and laced-up shoes.
Ht. 8 in. Payne Knight Coll. (Ixxii. 3). Good archaic work. The support of the
mirror ends in volutes and half-palmettes, and on the face is engraved a palmette.
551. Stand of Mirror, formed by a figure of Aphrodite. She stands with feet
together, r. hand held out palm upwards, 1. on hip ; her hair falls in a thick
mass, and she wears long chiton and himation with chevron border over r.
shoulder, falling in pteryges. The mirror is supported by two swans back to back.
Ht. 7\ in. Towneley Coll. Ancient base.
552. Stand of Mirror, formed by a figure of Aphrodite. She stands with feet
close together, holding a dove to her breast in r. hand and holding up her
drapery with 1. She has short hair (which is carefully rendered), and wears a
thick beaded fillet, long chiton with sleeves to the elbow, and himation over r.
arm, falling in pteryges on the r. side ; both garments are ornamented with stars
and bordered with a pattern of circles and chevrons.
Ht. (including mirror), 11 J in. From Naples. Payne Knight Coll. (Ixxxix. 40).
Bernoulli, Aphrodite, p. 45, no. 27. The mirror has a broad flange, deeply milled, and a ring
or other object has been attached at the upper edge.
78
CATALOGUE OF BRONZES.
553. Stand of Mirror, formed by the figure of a man. He stands with 1. leg
bent and hands raised, the r. drawn back, with two fingers extended as if holding
a spear by the amentum, the 1. extended with open palm ; he is bearded, with
hair rolled up in front and behind.
Ht. 8j in. Castellani, 1873. Small ancient base ; on the head is a sort of pad, on
which rests the support of the mirror.
C. CISTAE, VASES, CANDELABRA, etc. (553-601).
554. Cista. Round the upper part of the body is a frieze of Gorgons in
relief, each embossed from the same mould, running to r. in the archaic
manner, with faces to
the front ; they wear
short tightly-girt chitons
ornamented with a
punctured pattern,
and have protruding
tongues, a fringe of
curls over the fore-
head, with two tresses
falling on either side
of the face. Between
each two are the fore-
parts of two snakes
intertwined with heads
erect and confronting.
The feet are in the
form of lions' claws ;
above each is a bust
of a Siren in relief
with wings spread. On
the lid is an archaic
figure of a woman with
hair rolled up under
a fillet and long girt
embroidered chiton
with apoptygma ; 1. foot
slightly advanced and
arms bent.
Ht. 12 in. Diam.
I if in. From the Hope
Sale, 1849. The top is
battered.
13 = No. S34.
Fig. j4= No. S54^
ARCHAIC ETRUSCAN BRONZES. 79
555. Hermes Criophoros, probably from the top of a cista or lebes. He stands Plate XIII.
with 1. leg advanced, and is nude and slightly bearded, with a row of formal
curls over the forehead ; with r. hand he holds the fore-legs, with 1. the hind-
legs, of a ram which he carries on his shoulders. The type is perhaps derived
from Onatas.
Ht. 4| in. Civita Castellana, 1893. Murray, Greek Bronzes, p. 26. A series of similar
figures is given in Man. dell' Inst. ix. pi. 6. For the subject generally see Veyries, Sur les
Criophores Grecs ; Ann. dell' Inst., 1879, P- H3 ff- ; Roscher, Lexikon, i. p. 2394 ff. ; Furt-
waengler. Coll. Sabouroff, ii. pi. 146. Veyries regards these figures as mortals with victims for
sacrifice ; see Preller, Gr. Mythol* i. p. 420, note 4.
556. Man Reclining, probably from the top of a cista. He reclines on
1. side, with 1. arm on a cushion (perhaps an inflated askos), and 1. hand
extended, holding out a patera in r. hand ; he has long hair drawn in at the
neck and falling in a thick mass down the back, pointed beard and moustache,
all carefully rendered. He wears a long chiton with incised stripes and lozenge
borders, and himation over 1. shoulder with thick border and patterns of wavy
lines and dots.
Ht. 6J in. Length 13^ in. Millingen Coll., 1836. Vaux, Handbook to Brit. Mus. p. 418.
Good archaic work.
557. Amphora. The handles are formed by two nude youthful athletes with
thick hair, bent backwards so as to support the mouth of the vase, holding the
tails of two lions in their hands ; their muscles are highly developed. They
stand on lotos-flowers, below which are Sirens to the front, wearing fillets with
rosette, wings recurved ; below, a palmette and volutes.
Ht. 22J in. From Vulci. Pourtales Coll., 1865 {Cat. 718). Jahrbuch, vii. (1892), p. 137,
note 23. Cf. Micali, Mon. Ined. pi. 16, fig. 11. Good archaic work, with much boldness and
felicity of design. Rim restored ; round it, a double wave pattern.
558. Lebes. On the cover, in the centre is a goddess holding out a fruit (?)
in r. hand and holding up her skirt in 1., in the ' Spes ' attitude ; she wears a cap
or polos, long sleeved chiton and himation, and her hair falls in parallel waves in
the front of her ears and in a mass down the back. Round the edge are four
Sirens, to the front, with wings spread and hands held up, alternating with four
horsemen to r., seated on the r. side of their horses with feet extended to r.
They are beardless, with long thick hair, arranged in semi-Egyptian fashion.
On the body, tongue-pattern, and lotos flowers and buds alternating.
Ht. 17 in. From Capua. Castellani, 1873. Arch. Zeit. 1869, p. 35, No. 6.
559. Lebes. On the cover, in the centre, is a diskobolos, beardless and nude,
standing with 1. foot advanced, 1. hand raised, and in r. the diskos. Round the
edge are three beardless horsemen galloping to 1., two of them seated on the r.
side of their horses, as if in the act of dismounting.
SO CATALOGUE OF BRONZES.
On the body tongue-pattern. The vase rests on a stand with three feet in
the form of lion's claws. The surface is formed of thin plates of bronze riveted
on ; these are broken away in places.
Ht. 18I in.
560, Lebes. Round the body is incised a frieze representing (a) Hercules
driving away the oxen from Cacus : Hercules moves to r., looking back,
holding his club in r. hand and bow in 1. ; his hair falls in thick curls over the
forehead, and he wears the lion's skin. In front of him are seven oxen, four
walking together, followed closely by the three others ; on the 1. is Cacus slung
up to a tree with head to 1., to which he is fastened by the hands and feet. In
front of the oxen a dog walks to r., looking back. The rest of the frieze on this
side is occupied by animals : on the 1., two panthers devouring a ram, which lies
on its back, with 1. foreleg in the air ; lion and bull confronted, the latter kneeling
on 1. foreleg ; lion and boar confronted, between them a tree, and on the r. three
trees, beyond which is a lion crouching to r. On the r., between two trees, a
lion seated to r. and two panthers walking to r. ; two dogs pursuing a deer to
r. ; three trees.
(b) Chariot-race and wrestlers, perhaps representing funeral games: ([)
In the chariot-race are six bigae driven at full speed to r. ; the fourth overlaps
the third. The drivers are beardless, except the second, and wear short girt
chitons ; those of the first and fifth chariots are looking back. On either side of
the scene is a Doric column. (2) In this scene are three groups of wrestlers in
various attitudes, nude and beardless ; the pair on the r. grasp each other with
r. hand by the wrists ; the one on the r. in the central group is being beaten
down on one knee. On the 1. of the scene is the trainer looking on, nude and
beardless, with a wand in r. hand and a thong (?) in 1. ; between the first two
groups from the 1. is a flute-player to 1. On the r. a Doric column. Above the
frieze is tongue-pattern ; below, a band of lotos and honeysuckle-pattern.
Round the lip, bead-moulding and egg-pattern.
On the cover, in the centre, is a group representing Heracles and Auge (or
perhaps Hades and Persephone) ; Heracles seizes Auge from behind, placing 1.
arm round her waist and grasping her r. wrist with his r. hand. He is nude and
bearded, and wears a fillet with rosettes ; in 1. hand he has held some object ;
she has long tresses, and wears a cap open behind, earrings, long bordered
chiton with apoptygma, and woollen under-chiton.
Round the edge are four Amazons riding to r. ; they have long tresses and
wear Phrygian caps, bracelets, short chitons with belts, and anaxyrides orna-
mented with lozenge-pattern, with knee-caps. Each has a bow in 1. hand and a
quiver slung at back, from which two are drawing arrows with 1. hand.
Ht. 26} in. Found at Capua in 1847, together with a vase signed by Euergides.
Minervini, Mon. Ant. di Barotic, pis. A, B, p. 117 ; Mon. deW Inst. v. pi. 25, and Anna//, 185 1,
p. 36 f(., pi. A. ; Roscher, Lexi/con, i. p. 2288 ; J our n. Hell. Stud. v. p. 179 ; An//. Zcit. 1883,
p. 162; 1855, Anzeigert p. 61* ; Journal des Savants, 1853, p. 470; Romischc MittheiL ii.
ARCHAIC ETRUSCAN BRONZES. Si
(1887), p. 244 ; Ann. delP Inst. 1867, p. 357 note, 1879, P- J32 ; Corey, Amaz. Ant. Fig. p. 95 ;
Zahn, Darstdlungen d. Barbaren, p. 50, No. 3. For the subject of Hercules and Cacus, see
also Journ. Hell. Stud. xiii. p. 70. The lebes is perhaps of Campanian or Graeco-Etruscan
origin ; the frieze recalls early Greek vase-paintings, and appears to be under Proto-Corinthian
influence.
561. Lebes. The body is covered with thin plates of bronze, much broken
away. On the shoulder, tongue-pattern, and lotos-buds and flowers ; round the
lip, moulded egg-and-tongue pattern. Round the lip are four mounted archers
galloping to r., the horses rearing up ; they wear short close-fitting chitons and
helmets. Two of them turn back as if drawing their bows ; their helmets have
crests in the form of swans' heads ; the others are drawing rein or shooting
arrows. On the cover, lotos-flowers and tongue-pattern. The lebes rests on a
separate stand, which has three feet in the form of lions' claws.
Ht. 18 in. Ann. deW Inst. 1879, p. 136, 1880, p. 346 ; Romische Mittheil. ii. (1887), p. 244 ;
Semper, Der Stil, ii. p. 14 ; Corey, Amaz. Ant. Fig. p. 94 ; Zahn, Darstdlungen d. Barbaren,
p. 49, no. 1.
562 Circular Dish. The dish has two horizontal flat handles, on each side
of which are serpents' heads. On each handle is a group of a man and a
woman reclining side by side to r., the woman in front ; the woman has long
hair falling in tresses, and the man also has long hair falling in a mass behind.
In one group the man holds up a phialk in 1. hand, and is beardless ; in the other
he is bearded and has no phialk, but the woman holds a phialk in 1. hand, the
arm resting on a cushion. The eyes are pierced for settings.
Ht. 4I in. Diam. 15^ in. Castellani, 1873.
563. Bowl. It stands on three feet in the form of lions' claws ; attached to the
exterior are three nude male figures bent outwards, with arms and legs bent
back, as if supporting the bowl. Over each foot is a group in open-work relief of
Heracles and Iolaos in combat with the Hydra. Heracles on the 1., bearded,
raises his club (?) in r. hand ; Iolaos on the r., with long hair, short chiton,
cuirass (?), greaves, and sword slung at side, also raises a club (?) in r. hand.
Between them the Hydra is coiled, and each places his 1. foot on its body ; two
heads seize Heracles by the r. leg and waist, one seizes Iolaos round the body,
and two rear up between them, attacking their heads ; each hero grasps a head
with 1. hand ; the other two heads are on the ground.
Ht. 4| in. Diam. 13 in. Slightly archaic ; fifth century B.C.
564 Patera. The handle is formed by the figure of a nude youth, standing
on a ram's head, which is placed nose downwards ; he has long hair falling
in a flat mass down the back. The figure is united to the bowl by a floral
pattern.
Ht. fj\ in. Diam. \o\ in. Blacas Coll., 1S67. Bowl injured in places.
82 CATALOGUE OF BRONZES.
565. Patera. The handle is formed by a figure of a woman, who holds up
with both hands a support for the bowl, on which is a palmette between two
lotos-flowers ; she has long hair falling in parallel curls, clubbed together at the
ends, and wears a loin-cloth marked with rings ; she stands on tip-toe with feet
close together. The legs have been lengthened by pieces inserted at the knees.
Ht. 14I in. Diam. 7I in. Rim rather worn away. For the costume, see a figure from
Aegina in Ephein. Archaeol. 1895, pi. 7, and male figures from Dodona and Olympia (Carapanos,
Dodone, pi. 12, fig. 1 ; Olympia, iv. Nos. 83, 234, etc.).
566. Youth, forming part of the handle of a patera. He stands on a ram's
head, which is placed nose downwards, with feet close together ; he is nude, and
his arms are extended on either side, with hands raised ; on each hand is
supported a seated ram, and above is a palmette at the point of insertion with
the patera.
Ht. g78 in. Towneley Coll. Rude work.
567. Youth as last. He stands on a tortoise with feet together ; he is nude,
with hair rolled up behind over a fillet ; both hands support a cross-piece above
his head on which is a leaf, at the point of insertion of the patera.
Ht. Jl in. Rude work ; left hand injured ; cross-piece broken.
568. Youth, forming part of the handle of a patera. He stands on a ram's
head, with feet together, and holds up a ram on each hand (as the last example
but one) ; he is nude, and his hair is arranged in formal parallel curls. Above
the rams is a flat piece for insertion into the patera.
Ht. 81 in. From Pomarico, Basilicata. Temple Coll., 1856.
569 Youth as last, except that his hair is shorter and is rolled up at the back.
Above is a palmette at the point of insertion of the patera.
Ht. gl in.
570 Youth, forming part of the handle of patera. He stands on a ram's
head, and supports two rams, just as the last two ; he is nude and wears a
beaded fillet, and his hair is arranged in long formal tresses behind. Above, at
the point of insertion, a palmette.
Ht. IO3 in. Payne Knight Coll. (xi. 16).
571. Youth, as last. He stands on tip-toe, holding up with the fingers of
each hand a horizontal bar ornamented with volute patterns, above which is a
palmette (broken) ; he wears a fillet with three rosettes in front, and has long
hair falling in a miss behind and tied at the ends.
. Ht. 6^ in. From Naples. Payne Knight Coll. (lxxxix. 42), Hair carefully rendered.
ARCHAIC ETRUSCAN BRONZES. 83
572. Colander (^fyto?, colum). The handle ends in a figure of Achelods,
represented as a bull with bearded human face, the feet drawn up close to the
body. It is moulded along the sides and top, with a palmette on one end on
the top and a lotos-bud on the other ; the mouldings on the side are continued
round the edge of the bowl, ending in double palmettes. On the top, between
the handle and the bowl, are three Satyrs dancing ; each has one hand raised,
and the one on the 1. holds his tail in 1. hand ; the two on the 1. turn to look at
the other, who turns towards them. Round the rim are bands of minute orna-
ment, bead-and-reel, and wave patterns.
Length I2| in. Payne Knight Coll. Most of the bowl is broken away. The Satyrs are
of an archaic type, with horses' hoofs.
573. Colander. The handle ends in a ring ; on it are a lotos-flower and a
pear-shaped ornament ; at the end towards the bowl is an archaic male figure
running to r. and looking back, with hair looped up, hands raised.
Length ill in. Payne Knight Coll. Two pieces broken out of the bowl.
574. Colander. The handle ends in a figure of Achelods, as in the last
example but one ; it has a palmette pattern at this end, and at the one next the
bowl a Gorgoneion of archaic type ; round the rim, double bead-and-reel pattern.
Length 10^ in. Comarmond Coll., 1851. Bowl broken away, but rim perfect.
575. Trefoil Oinochoe, with ribbed handle, ending above in a head of the
youthful Dionysos, with fringe of curls over the forehead, and fillet, below
in the mask of a Satyr, bearded. On either side of each head is a floral
ornament.
Ht. 6 in. Presented by Chambers Hall, Esq., 1855. Mask of Satyr carefully executed.
Surface of vase corroded ; one side indented.
576. Handle of Vase with archaic reliefs. In the centre are two Gorgons to the
front, each leaning forward and laying one hand on the other's arm, the other
hands being extended in the same direction; the awkward attitude is necessitated
by the shape of the handle. Their hair is arranged in a stiff fringe over the
forehead, and they wear a kind of cap, short girt chitons falling in pteryges, over
which is a scaly garment covering breast and shoulders, and winged endromides ;
between them is a rosette. At each end of the handle is a figure of Triton to
the front, the outer hand held up, the other placed on the hip ; their bodies
from the waist end in fishes' tails curled up on the inner side. They are bald
on the forehead, and have beards and moustaches, and long hair falling in a flat
mass down the back, with curls on the temples ; they wear short girt chitons
with apoptygma. Below the figures is a bead-moulding with a rosette at
each end.
Length i6|in. Payne Knight Coll. Jourii. Hell. Stud. vi. p. 284, pi. D. The lower part
of the handle remains, with rivets for attachment to the vase.
G 2
84 CATALOGUE OF BRONZES.
577. Two Handles of a Vase, each with two corresponding reliefs at the
points of juncture with the vase. On the left-hand reliefs is a man in a chlamys
seated to r., holding in his mouth the drapery, and seizing with 1. hand the r. arm,
of a nude woman who sits with legs intertwined in his (cf. the Apollo and Artemis
of the Parthenon frieze), with head thrown back, long wavy hair and drapery
under her. The right-hand groups consist each of a bearded man, with hair
rolled up and drapery twisted round loins, pursuing a woman to v., who
moves away with face up-turned and both hands raised as if in despair ; she
has long wavy hair and a long loose chiton drawn up so as to expose the
legs (cf. No. 578).
Ht. 5§ in. From Chiusi. Castellani, 1873.
578. Handle of Vase, ending above in a ram's head, and below in an
emblema, on which is a relief of a Satyr seizing a Maenad. The Satyr is to
the front, and seizes the Maenad's 1. arm with 1. hand from behind ; she has
dishevelled hair, and wears a loose chiton, which is drawn up so as to expose the
lower half of her body (cf. No. 577 and Cat. of Vases, iv. F 31 1).
Ht. 8^ in. Blacas Coll., 1867. Along the handle, bead-mouldings.
579. Handle of Vase, ending above in a ram's head, and below in an
emblema with archaic relief of a wounded warrior (type of Capaneus) kneeling
to r., with head upturned to r. and feet raised ; he is beardless, with short chiton,
cuirass, greaves, shield on 1. arm, and helmet under r. arm.
Ht. 8 in. From Vulci ; obtained 1829. Burgon Coll. Compare No. 2266.
580. Handle of Vase, ending above in a ram's head, and below in an
emblema with archaic relief of a bearded man kneeling to 1. on a tortoise, to which
he extends r. hand ; his hair is rolled up, and over his arms is a chlamys. The
background is incised with a network pattern.
Ht. 7 in. From Vulci ; obtained 1829. Burgon Coll. Above the emblema a palmette,
and along the handle bead-mouldings. Compare Brit. Mus. Cat. of Gems, No. 362.
581. Handle of Vase in the form of a nude youth bending backwards and
holding two couchant lions by the tails ; he has long hair arranged in a flat
mass of parallel curls, with two tresses over each shoulder. The feet rest on a
palmette ; on either side of them remain the hind-quarters of a ram lying down.
Ht. 61 in. Castellani, 1873. The lion in the right hand is broken away. Strongly
Egyptian in character.
582. Handle of Vase, as last, but with both lions. On either side of the feet
has been a ram lying down, but the one on the 1. is lost.
Ht. 7 in. Tayne Knight Coll. (v. 6). Sent by Sir W. Hamilton from Naples.
ARCHAIC ETRUSCAN BRONZES. 85
583. Handle of Volute-Crater, as the vases B 364 or E 468-470. Along the
upper side of the handle are two bands of tongue-pattern, and along the edges,
bead-moulding ; on the sides, forming the volutes, are bands of tongue-
pattern and spirals. Below is a figure of Medusa, of the archaic type, with two
long tresses over each shoulder and short sleeved chiton, the edge of which she
holds up with both hands ; the legs are placed wide apart, and have rested on
the side of the vase ; they end in snakes' heads.
Ht. 7 in. Castellani, 1873. An exactly similar specimen in the Louvre, published in
Gazette Archdol. 1887, pi. 33.
584. Two Handles of a Vase, each ending below in a mask of Acheloos, with
bull's horns and ears. Up the middle of the handle is a milled ridge.
Ht. 6 and 6~ in. Millingen Coll., 1847. Hair and beard carefully rendered.
585. Handle of Vase, ending below in two heads of Seilenos, with thick
beards and moustaches ; hair carefully rendered.
Ht. Si in- From Canino ; obtained 1829. Burgon Coll.
586. Part of Handle of Vase (?), with a bust of a woman wearing a tutuhis,
in high relief.
Ht. 2f in.
587. Tripod-Stand. The feet end in lion's claws, which rest on figures of
squatting frogs* ; the top of each foot is surmounted by a border which consists
of a central palmette flanked on each side by a lotos, acorn, shell, and wave
pattern. From each foot spring two lateral and three vertical supports, the
former meeting in a central disc or boss with vandyked edge, on which recline,
leaning on r. elbow, two (originally three) youthful Satyrs. The outer vertical
supports meet above in arches, decorated with a tongue-pattern, and having the
voids filled in by an entwined ornament perforated, and resting on a row of
pendants, a palmette and an acorn alternately. Above each arch is a bear (?)
to 1. devouring a kid (?), which crouches to r. ; in one instance the bear is
to r., the kid to 1. The central supports have lotos capitals, on each of which
is a group of two figures: (1) Heracles and Iole moving to r. ; Heracles is
beardless, with lion's skin over hand and fastened round neck, and club in r.
hand ; he takes Iole's r. hand in his 1., and both look to the front ; she wears a
long chiton and a veil over the back of her head. (2) Two women (?) to the
front with feet to r., wearing caps, himatia, and high boots with tags before and
behind ; hands by their sides. (3) Two bearded Satyrs to the front, the one on
the 1. in a drunken attitude, holding out r. hand to the other.
Ht. 28 in. Found at Vulci, 1838. Blayds Coll. ; Campanari, 1849. Bull. deW Inst.
1839, p. 21 ; Mon. deW hist. ii. pi. 42 B and iii. pi. 43 ; Ann. 1837, p. 162, 1842, p. 62 ; Man.
Antichi, vii. (1897), p. 298 ; Canina, Etruria Marit. ii. pi. 112, figs. 1-7 ; Nouv. Annates, ii.
(1838), p. 240, note 3 ; Romische Mitthcil. xii. (1897), p. 9. A similar tripod is published in
Mus. Greg. i. pi. 56.
* Sec Jahn, Ficoronische Cista, p. 36, zxi&Jahrbuch, i. p. 52,
86 CATALOGUE OF BRONZES.
588. Tripod- Stand. The feet end in lion's claws resting on plinths ; from each
spring two lateral and three vertical supports, the former meeting in the centre.
Each outer vertical support meets the adjoining one in an arch decorated with
tongue-pattern, inside which is a perforated honeysuckle pattern above a row of
pendants ; over each arch are the fore-parts of two rearing horses back to back.
Each central support is surmounted by a honeysuckle pattern, above which is a
figure ; these represent the contest of Heracles with Thanatos for Alcestis : —
(i) Hermes running to r., in the archaic running manner, with 1. hand raised
and a large sword in r. ; he is beardless, and wears a winged petasos, short girt
chiton, and talaria with wings in front and behind. (2) Thanatos carrying off
Alcestis : He runs to r. in the archaic manner, carrying a diminutive figure of
Alcestis in his arms ; her head rests against his 1. shoulder, and she wears
a tntuhts and long bordered chiton. Thanatos is bearded, with long hair, and
wears a short bordered chiton and talaria as Hermes ; he has two pairs of wings,
the upper recurved. (3) Heracles in the archaic running attitude to r., with club
brandished over his head in r. hand ; he wears a short chiton and the lion's
skin tied over his head and fastened in front.
Ht. 2 ft. 2| in. From Vulci. Canino Coll., 1837. De Witte, Descr. d'une Coll. de Vases
peints et bronzes, No. 242 ; Mon. Antichi, vii. (1897), pp. 293, 353 fif., pi. 9, fig. 2 ; Nouv. Annates,
ii. (1838), p. 239 ; R'dmische Mittheil. xii. (1897), p. 9. The top of the tripod is rather damaged.
589. Candelabrum. The feet are in the form of lions' claws, resting on
tortoises ; above is a triangular pedestal, on which is a man with stiff straight
beard, wearing a conical cap. With his hands he supports a pedestal above his
head on which are two rude beardless figures, each with one arm by his side ;
the other arms (now lost) have supported the top of the candelabrum, on which
are moulded rings, and two-thirds of the way up a saucer-shaped bowl with
open work. The top is broken off, and the lower part of the stem restored.
Ht. 19! in. Blayds Coll., 1849. Feet of bearded man lost ; much worn and corroded.
590. Candelabrum. On the top is a group of a bearded Satyr seizing a
Maenad from behind, with r. hand placed on her back, and 1. hand grasping her
1., his head over her 1. shoulder ; he has long hair with fillet, and his 1. leg is
placed in front of the Maenad's 1. leg. She raises r. hand to keep him off ; she
has long hair, with fillet, long chiton, and himation falling in rich folds.
Ht. 3 ft. ii-] in. Campanari, 1849. Pizzati Coll. (?). The stem is fluted, and round the
top are four branches ending in leaves (one broken off, and another repaired). The feet are in
the form of lion's claws on plinths, with palmettes between.
691. Candelabrum. On the top, a man and woman side by side, the man on
the 1., beardless, with thick hair falling on the neck ; he wears a fillet and
short chiton leaving r. shoulder bare (e£&)/u<>), and holds a necklace of bullae in r.
hand, which falls by her side. The woman wears a fillet, long chiton with
apopfvgma, and himation over 1. shoulder. His 1. hand is placed on her r.
ARCHAIC ETRUSCAN BRONZES. 87
shoulder, and his r. arm shown in front ; both wear wreaths. At the top of the
stem are four branches ending in leaves ; the feet are in the form of three
lion's claws meeting in a moulded base (tongue and bead patterns).
Ht. 4 ft. Canino Coll., 1837. De Witte, Descr. 256.
592. Candelabrum. On the top is the figure of a warrior standing with 1.
foot advanced, holding a sword (/cotti?) in r. hand, on 1. arm a shield ; he is
beardless, and wears a crested helmet with cheek-pieces turned up and short
chiton with incised markings. Round the top of the stem, branches as before ;
the three feet are in the form of lion's claws on plinths, with palmettes
at the juncture, and above this, spreading leaves.
Ht. 4 ft. 5! in.
593. Candelabrum. On the top is the figure of a man with r. foot advanced,
leaning on a staff (?), with head bent to his 1. ; he has long hair falling in a
mass on the shoulders, fillet, and himation held up in r. hand and over 1. arm.
The stem is fluted, with a calyx at the top and branches as before (one broken) ;
the three feet are in the form of lion's claws on plinths, with palmettes at the
juncture, and tendrils in low relief on the stem.
Ht. 3 ft. 3| in.
594. Candelabrum. On the top is a nude beardless man standing with 1.
foot slightly advanced and hands by his sides, with hair falling in a thick mass
down the neck ; the type resembles the early so-called " Apollo " statues. The
stem is fluted, with four branches as before ; the three feet are in the form of
hoofs, with ivy-leaves between.
Ht. 3 ft. o| in. Canino Coll., 1837. De Witte, Descr. 248.
595. Candelabrum. On the top is a socket, with four branches ending in
leaves, which is supported by the figure oia.diskobolos, standing with 1. foot drawn
back ; the r. hand extended from the elbow has held some object between the
thumb and forefinger ; his hair falls in a mass down the back, and in his 1. hand
is the diskos. The figure stands on a plinth, to which a dolphin is attached ;
this rests on three feet in the form of lion's claws.
Ht. 14I in. Blayds Coll., 1849.
596. Candelabrum. Feet in form of lion's claws on plinths, with palmettes
between ; round the lower part of the stem, seven projecting objects, above which
is a corona of leaves ; the stem is fluted. The top has four leaves branching out,
above which is a man standing with hands down by his sides ; he is nude and
beardless, with hair rolled up at the back.
Ht. 3 ft. 3 in. Coarse work ; the figure of the man has been repaired.
bO CATALOGUE OF BRONZES.
597. Candelabrum- Plain moulded base, on which is a beardless man stand-
ing with hands on hips, a thick mass of hair falling down his back ; on his
head rises a stem with two tiers of four hooks ending in buds ; on the top, a
saucer- shaped bowl.
Ht. nf in. Canino Coll., 1837. De Witte, Descr. No. 259.
598. Candelabrum. On the top is a flower, and at intervals down the stem
are circles of leaves ; the stem is supported by a figure of a woman moving to 1.,
holding up her hands sideways, the palms upwards. She wears a twisted
necklace with bulla in the form of an animal's head, shoes with turned-up toes,
long chiton with hanging sleeves and patterns indicated by finely-incised lines
and a garment twisted round her waist and spreading in pteryges on either
side. Below the figure is a triangular base, supported by three feet in the form
of lion's claws resting on tortoises ; on the fiat top of each foot is a lion
couchant.
Ht. \"]\ in. Basseggio Coll., 1848.
599. Candelabrum. Base in form of a fiat plinth on three legs, as No. 448,
on which is a saucer, behind which stands a very archaic female figure wearing
a long, close-fitting, sleeved chiton, earrings, tutulns, and shoes ; her hands are
raised with the palms outwards. On her head is the stem, up which a dove
climbs ; at the top are three leaves supporting a disc (broken off).
Ht. 8| in. From Vulci. Campanari, 1847.
600. Fragments of bronze, in the form of thin plates, with incised designs.
These fragments were formerly made up into an elliptical shield, with numerous
additions and restorations ; on cleaning, it was discovered that only half of them
belonged to the shield, while the rest formed part of a long band, which may be
from the body of a cista. It has also been suggested that the two groups of
fragments may have come from the front of a chariot, group (1) forming the
semi-circular top, and group (2) decorating the lower part ; the style of each
group, the schemes of decoration, and the patina of the bronze are so very
similar as to suggest that they must have had some connection.
(1). Fragments forming semi-circular plate, with outer border of palmettes
with interlacing stems, and inner of rosettes of six points in circles. In the
centre is a large double palmette pattern over which two Sphinxes are confronted ;
they have long tresses and recurved wings, and each has one paw raised.
Behind the one on the 1. is a double palmette with volutes. Five rosettes as
before, now detached, probably formed part of a band subjoined to this design.
(2.) Fragments forming a band with borders of palmette pattern as on (1).
This band is ornamented with a frieze of animals : two bulls confronted, with a
palmette between ; a bull moving to r. ; a Gryphon to r., with wings recurved.
ETRUSCAN BRONZES OF FINEST PERIOD
in its mouth a partially-swallowed snake (?) with
tail coiled up ; a lion to r. with a human leg in
its mouth * ; a Gryphon as before to r., with head
raised ; and a lion to r. with a human leg in its
mouth.
From Etruria. Castellani, 1865. See Mus. Ital. di
Ant. Class, ii. p. 107, and Perrot and Chipiez, Hist,
de PArt, iii. p. 873. The work is possibly Greek ; the
animals may be compared with those on the lower part
of the Polledrara bust (No. 434).
601. Tablet with incised designs. Above, two
nude men conversing, one bearded ; below, a similar
pair of figures. In the lower group the figure on
the 1. holds out a wreath and the other holds up
some object in r. hand ; both have long hair with
fillets.
Length 7j in. ; width 3! in. Found in the Tiber,
1887. Murray, Handbook of Gk. Archaeology, p. 124.
Parts broken away. Vertical borders of egg-pattern and
horizontal borders of hatched lines. For the style, compare
the mirrors 541, 543, 544, and for similar designs, Olympia,
xv. pi. 39, figs. 699-703 (Furtwaengler).
Fig. 15 = No. 601.
III. PERIOD OF FINEST ETRUSCAN ART (602-669).
A. STATUETTES (602-616).
602. Demeter. She is seated in a rustic car, the body of which is formed of a Plate XII.
square framework of poles with two cross-bars, attached to which is a long solid
pole with curved cross yoke. Her hair is rolled up all round her head, and she
wears a long woollen chiton, himation with border of dots over her arms, and
shoes ; she is seated on a doubled-up cushion, with hands by her side and feet
resting on the pole. The wheels of the car are in the form of a rose of five petals.
Ht. 4 in. ; length 8\ in. From Amelia in Etruria. Castellani, 1865. Mansell,
Brit. Mtis. Photographs, No. 802. The bronze is in very fine condition, with beautiful patina.
The car had probably been drawn by animals attached to the yoke.
603. Ares, from a candelabrum. He stands with 1. foot slightly advanced, Plate XX.
looking to his 1. ; his r. hand has brandished a spear, and in 1. he has held a
shield {pchanon and porpax still remaining). He is bearded, and wears a crested
visored helmet, on the top of which is a spike, broken off.
Ht. 8 in. Blacas Coll. 1867. Much corroded. Triangular ancient base. Greek work (?).
* Cf. an early Greek bronze fibula published in Zeitschr. fur E'.hnol. 1889, p. 222, fig. 32.
9o
CATALOGUE OF BRONZES.
604. Heracles. He stands on r. leg, with 1. hand extended, and has held up a
club in r. He is beardless, with a straight fringe of hair over the forehead, and
wears the lion's skin over his head, tied in front, and falling over 1. arm ; it is
marked to indicate hair. On the modern plinth is attached a relief of a dog or
lion leaping to r.
Ht. 5f in. Hamilton Coll. Left foot broken ; in bad condition.
605. Heracles. He advances to his 1., with 1. leg advanced and 1. hand
extended, r. hand raised ; he has held some object in each hand. He is
beardless, and wears the lion's skin over his head, tied in front under the chin.
Ht. 6- in. Blacas Coll., 1867. In good condition ; probably fifth century B.C.
606. Contest of Heracles with the Acheloos. Heracles to r. seizes the r.
horn of the Acheloos with r. hand, placing the 1. on his back ; the Acheloos is
fallen forward on his fore-legs. Heracles is nude and bearded, and kneels on
1. leg, the r. extended ; the Acheloos has a bull's body and bearded human face.
Ht. 1- in. Length 3 in. Payne Knight Coll. (xlvi. 17). Trans. Roy. Soc. Lit. Ser. 2, xi.
(1878), pi. 3. The base ends in volutes. Perhaps from the top of a cista.
607. Female Deity. She stands with feet together ; her hair is parted and Plate XV.
waved, and she wears a sphendont, long chiton, and apoptygma covering the arms,
and a large hood or veil over the head, falling in two points down the back. The
ears are pierced for earrings ; the eyes are of silver.
Ht. io| in. Castellani, 1873. Arms broken off. The whole figure is plated with silver,
which is much worn away.
608. Seilenos. He stands with 1. leg bent, and r. foot drawn back, looking
to his 1., his body bent over to the 1. ; he wears a wreath, drapery round loins,
o-athered up over 1. arm, and shoes fastened on the insteps. On his r. thigh is
inscribed : JKNAA ; on the 1. : $0^
Ht. Si m- Castellani, 1873. Left hand lost ; right arm injured. Good patina.
609. Reclining Figure. He lies with head to r., looking round to r., 1. elbow Plate XII]
resting on a cushion ; he is beardless, and wears fillet, chiton, himation, and
shoes ; he holds a lyre in both hands.
Ht. 2I in. Length 3! in. Canino Coll., 1837. De Witte, Descr. No. 281. Corroded.
610. Youth Kneeling. He kneels on r. knee ; he is beardless, with curly hair, Plate XIII
and wears a necklace with large bulla in front, and himation caught up over
1. arm.
Ht. i\ in. Presented by General Meyrick, 1878. Murray, Hist, of Gk. Sculpture? ii.
d 2VK. Right arm and left foot lost ; workmanship delicate and refined. This figure recalls
the description given of the Splanchnoptes of the Cypriote Styppax (Pliny, Hist. Nat. xxxiv.
80 and may convey a notion of how that statue was represented ; it is hard to say whether
the' type is more Etruscan than Cypriote in this case.
ETRUSCAN BRONZES OF FINEST PERIOD. 9 1
611. Athlete. He stands on r. leg, looking to his r., with r. hand on hip ; in
1. hand he has held some object ; he is nude and beardless, with smooth hair
brushed forward.
On the base, which is ancient, is incised: \J3M3»aVTH0V>lANi>/3l\/kM . .
, pelina puthn turke sel.
Ht. 6 in. From Sarteano. Castellani, 1865. Bull. delP Inst. 1859, p. 79! Fabretti,
C. I. Ital. 1014 ter ; Corssen, Sprache der Etrnsker, i. pp. 459, 630 ; Deecke, Etr. Forschungcn,
iii. p. 285, No. 19, and p. 411, note ; Pauli, C. I. Etr. 1552. About the fifth century B.C.
612. Female Figure. She stands with 1. leg slightly advanced, looking down Plate XIV.
to her 1. ; in r. hand she holds out a bunch of flowers. Her hair is parted and
waved, and rolled up at the back under an ampyx ; she wears long chiton
and himation over 1. shoulder ; the eyes have been inlaid.
Ht. 6] rin. From Etruria. Castellani, 1884 {Sale Cat. No. 452). Style and condition
fairly good ; left hand lost ; corroded at the back.
613. Female Figure. She stands with 1. leg bent and hands extended in Plate XIV.
an attitude of prayer ; her hair is waved and rolled up at the back, and she
wears an ampyx incised with patterns of circles, necklace, long chiton, himation,
with borders of circles incised, thrown over r. shoulder.
Ht. 51 in. Castellani, 1884 {Sale Cat. No. 451). Murray, Greek Bronzes, p. 31; cf.
Ann. delT Inst. 186 1, pi. T. Carefully executed ; good patina.
614. Head of Bearded Man. He has slightly-curling hair, short beard with
neat rows of curls, and slight moustache ; the eyebrows and eyelashes are
delicately indicated.
Ht. 3 in. Falterona, 1847. Micali, Mon. Ined. pi. 11, fig. 5 ; Arch. Zeit. 1847, p. 186.
Brown patina.
615. Right leg, perhaps from a large statuette, in a bent attitude.
Ht. 12 in. From Falterona. Campanari, 1847. Bull. deW Inst. 1838, p. 67, 1842,
p. 180 ; Arch. Zeit. 1847, p. 186. Brown patina.
616. Arm. Holds part of a rod or other object in the fingers.
Length 9I in. From Falterona. Campanari, 1847. Bull. deW Inst. 1838, p. 67, 1842,
p. 180 ; Arch. Zeit. 1847, p. 186. Good patina.
B. MIRRORS (617-636).
617. Birth of Athene. In the centre sits Zeus to r. on a four-legged stool,
with 1. hand extended, the fingers moving convulsively, holding up a thunder-
bolt in r. ; he is bearded, and has long hair ; he wears a fillet, sandals, and
himation over 1. arm and round the knees, and his feet rest on a footstool. From
his head springs a small figure of Athene, winged, with crested helmet, from
92 CATALOGUE OF BRONZES.
the top of which rays shoot upwards, aegis, long girt chiton, spear in r. hand,
and shield on 1. arm ; these figures are inscribed respectively TINIR, Tinia, and
i^enedla, Menerva. On either side of Zeus stands a winged female deity,
each having short hair turned up over a sphendone which has studs along
the front and a dentated upper edge, necklace with biclla, armlets, long sleeved
chiton, and himation. The one on the 1., who is inscribed Oflivo, Thaur,
draws the fillet tight round Zeus' head, while the other, who is inscribed,
AHMVA0 3, Ethausva* places one hand on his head and the other on his
1. shoulder (cf. the two Eileithyiae in similar scenes on black-figured vases,
such as B 218 and B 244 in Brit. Mus.).
Diam. 7 in. From Palestrina. Castellani, 1873. Formerly in Tyszkiewicz Coll. (?).
Man. deW Inst. ix. pi. 56, fig. 3, and Ann. 1873, P- I29 '■> Gerhard- Korte, Etr. Spiegel, v. pi. 6,
p. 12 ; Schneider, Geburt d. Athene, p. 15, no. 5 ; Roscher, Lexikon, i. p. 1390, s.v. Ethausva ;
Fabretti, Suppl. iii. no. 394 ; Corssen, Sprache der Etrusker, i. pp. 372, 1007. Round the edge,
a pattern of volutes. Handle broken off.
618. Birth of the Three Cabeiri. On the 1. is Hermes looking to r., beard-
less, with winged petasos, chlamys, endromides, and cadttceus in r. hand ; on
his 1. knee he holds one of the infant Cabeiri, who wears a bulla round his
neck, and holds up 1. hand. He is inscribed: Dl/HOVT, Turms ; and the infant:
X\Ak\0)A\W\\\ Miafll/H, Maris Isminthians. In the centre is Athene to the front,
looking to r. ; she has long hair, earrings, necklace, bracelets, crested helmet,
aegis with Gorgoneion (rough hair, protruding tongue), long chiton with apoptygma
under-girt, and r. hand resting on spear. With 1. hand she holds the 1. arm of
an infant Cabeiros emerging from a crater at her feet ; he has a necklace with
bulla, and his r. hand is placed on the shoulder of the vase. The crater has
voluted handles, a wreath round the neck, and fluted body ; Athene is inscribed :
fi-\Q\AJW\, Menrfa; the infant : dl/MI/iasva tMQ AWl, Maris Husmana. Next on
the r., partly hidden by Athene, is a female deity to the front, looking at Athene ;
her hair is gathered in a top-knot, and she wears earrings and himation
with border of scroll-pattern, drawn as a veil over the back of her head ; her
hand is raised so as to cover her mouth. She is inscribed : WAQVT, Turan,
and probably represents Venus Libitina. Next, partly hidden by the last,
is a youth with curly hair and chlamys, holding a spear in r. hand ; he is
inscribed : \AAQA^, Larau (perhaps = Mars). On the extreme r. is a female
deity to 1., holding the third infant Cabeiros on her 1. arm, while with r. hand she
draws forward her drapery from behind ; she has thick curly hair, round which
a fillet is wound three times, earrings, necklace of pendants, himation over 1.
arm held between her knees, and shoes. She is inscribed : Il/IVTVT/U/Vld, Ama-
tutuni (perhaps the Amathusian Aphrodite, as opposed to Turan) ; the infant :
A\AJA^ MiddH/l, Maris Halna. In the background is a band of ornamental
* Strabo (v. 226) speaks of a temple of Eileithyia near. Caere ; it may be that the goddess indicated
is this Ethausva.
ETRUSCAN BRONZES OF FINEST PERIOD. 93
pattern, above which is seen the upper part of Eos to the front in her four-horse
chariot among water-plants (?) ; she wears a radiated ampyx and necklace.
Below the design is a figure of the youthful Heracles moving to r. ; he has
curly hair, a garment twisted round his loins, club in r. hand, and the lion's skin
tied round his neck, spreading out behind and fastened up at each corner ; this
he holds up with 1. hand. Below him are suspended five amphorae (see note to
No. 627). On the back of the mirror is incised, dl/iloVM, Suthina.
Ht. 10^ in. Diam. "]\ in. From Bolsena. Castellani, 1868. Gerhard, Etr. Spiegel, m.
pi. 257 B, p. 275 ; id. Gcburt der Kabirc?i ( = Abhaudl. d. k. Akad. d. Wissensch. Berlin,
1861), p. 401, pi. 1 ; id. Ges. Akad. Abhandl. ii. p. 241 ; Journ. Hell. Stud. iii. p. 85,
No. 30 ; Corssen, Sprache der Etrusker, i. p. 264-266. Handle broken ; rim injured. For
the explanation of the subject and names, see Gerhard, locc. citt.
619. Heracles with the Erymanthian Boar. Heracles stands to the front Plate XIX.
in the centre, with 1. foot placed on the body of the boar, which lies on its
back ; his face is turned partly to r., to look at Eurystheus, who has taken
refuge in the pithos, half buried in the earth. Heracles is beardless, with short
curly hair, club in r. hand, and lion's skin over 1. arm ; Eurystheus is visible down
to the waist, and is bald and bearded, with sceptre ending in a pomegranate in r.
hand and drapery over 1. shoulder. On the 1. is Athene looking on, with crested
helmet, aegis with Gorgoneion, long girt chiton, and shoes ; her r. hand rests on
her shield, and in 1. she holds a spear ; an owl is perched on her 1. hand.
Ht. 11 in. Diam. 6| in. Campanari, 1847. Gerhard, Etr. Spiegel, iv. pi. 339, p. 83;
Bull, dell' Inst. 1846, pp. 72, i83 ; Arch. Zeit. 1846, p. 230, 1847, p. 187. Below the design
is a large acanthus leaf, from which a wreath of leaves, flowers, and fruit branches out,
encircling the design. The lines of the drawing are fine, with more than usual of Greek spirit.
620. Perseus observing the severed head of Medusa. In the centre of the
scene is Athene, standing to the front, and holding up in r. hand the head
of Medusa, which has been cut off; her hair falls in curls confined with
an ampyx, and she wears long girt chiton with apoptygma, and aegis with
border of snakes, and holds a spear in 1. hand. Behind her head is inscribed
A\a{Tn£dC>1, Menerfa. On the 1. is Perseus stooping, with r. hand raised, as if to
grasp at the reflection of Medusa's head seen in a pool beneath him, at which
both he and Athene are looking; in 1. hand he holds the harpe. He is beardless,
and wears a pilos, round which is a myrtle-wreath, slung at the back of his head,
chlamys fastened with a brooch in front, and short girt chiton. He is inscribed
(DEPME, Pherse. On the r. is Hermes seated, with r. hand placed on his bent
knee and caduceus in 1. ; he is beardless, and wears a petasos slung at back, and
chlamys fastened with a brooch in front, with weights hanging from the points
of the lower folds, and an armlet on 1. arm. Above him is inscribed : Viavf,
Turms. Round the design an ivy-wreath.
Length 9f in. Diam. 6f in. Perugia, 1888. Murray, Handbook of Gk. Archaeology,
p. 129 ; Gerhard- Korte, Etr. Spiegel, v. p. 221. Ancient bone handle.
94 CATALOGUE OF BRONZES.
621 Combat of Eteocles and Polyneikes. They attack one another with
swords, and are fully armed with crested helmets, elaborately-ornamented
cuirasses, short chitons, and greaves ; Eteocles on the r. is beardless, and has r.
leg drawn back and 1. hand (from which hangs his sheath) extended to grasp
Polyneikes, who is bearded and has 1. leg drawn back. They are inscribed
respectively: 3>l>HJ 3, Ev(t)icle, and ©V\Nl<E, Fulnice.
Diam. 6\ in. Braun Coll., 1847. Gerhard- Korte, Etr. Spiegel, v. pi. 95, p. 122 ; Arch.
Zeit. 1 87 1, p. 103, No. 3. Round the design, ivy-wreath, ending in berries at the top. Similar
composition in Gerhard, Etr. Spiegel, ii. 233 and No. 715.
622. Amphiaraos and Ajax, and a Lasa. In the centre stands the Lasa to
the front, with head turned to r., holding out in both hands a scroll
on which are written the names: A\A<, XA^\A, mQA\(DW\Ah Lasa, Aifas,
Hamphiare. She has short hair, and wears an ampyx, and long girt chiton
with apoptygma. Ajax sits with bent head resting on back of r. hand, and 1.
hand resting on the edge of his shield, in r. a dagger ; he wears a short chiton
and cuirass of overlapping rectangular pieces of metal. Above him is
inscribed : \A^\A, Aifas. On the 1. Amphiaraos is seated with hands clasped
round his r. leg, which is drawn up ; he is beardless, and wears a short chiton and
cuirass, and at his r. side is his shield. In front of him is inscribed : 3adKDI/HdH,
Hamphiare. Round the design an ivy-wreath.
Length 9 in. Diam. 6\ in. 1847. Gerhard, Etr. Spiegel, iv. pi. 359, p. 112; Bull.
deW Inst. 1846, p. 106; Arch. Zeit. 1846, p. 293, 1848, p. 331; Fabretti, C. I. Ital. 2514.
Surface somewhat corroded. It is not known whether Ajax the son of Oi'leus or the son of
Telamon is here intended ; in either case the connection with Amphiaraos cannot be explained.
623. Achilles arming. On the r. is Achilles standing on r. foot, the 1. leg
being drawn up while he fastens a greave on it with both hands ; the other
greave is already on. He is beardless and wears a crested helmet with side-
plumes, close-fitting under-garment with sleeve on r. arm covered with chequers
which also appear on both thighs, and chlamys with vandyked border. At his
r. side is his shield, with a vandyked border and an octopus (?) as device. In
the centre stands Athene turned towards him and placing r. hand on his
shoulder ; in 1. hand she holds a spear with spike at the butt end (aavpooTtfp,
II. x. 153), round the top of which a sash is tied ; she wears a triple-crested
helmet, earrings, necklace, armlets, long bordered chiton with looped-up
sleeves and apoptygma, aegis with Gorgoneion and snake -border, and shoes of
curious pattern. Above, between her and Achilles, is her owl to r. with wings
spread. On the r. is a winged Lasa, holding an alabastron in 1. hand and
a nail (?) * in her raised r. ; she has curly hair, and wears earrings, necklace,
* The nail as a symbol of destiny and as an attribute of Fate or Lasa is seen on other Etruscan
monuments (e.g. Gerhard, Spiegel, ii. 176); see Daremberg and Saglio, Diet, des Antiqs. i. p. 1240
(s.v. Clavus), and compare Horace, Cann. i. 35, 17. On the other hand this object may be a spike such
as that held by the figure who is dressing Helen in No. 626. It could be iued for extracting a r.on-liquid
substance from the alabastron.
ETRUSCAN BRONZES OF FINEST PERIOD. 95
armlet on 1. arm, long bordered chiton with apoptygma, and shoes as Athene.
In the background is a roe with a myrtle-sprig in its mouth ; between
Achilles and Athene, two flowers. In the exergue is a Nike to front, looking to
1. ; her wings are spread, and she wears a sphendone, earrings, and girt chiton with
apoptygma ; her arms are extended, and she appears to rise out of a large flower.
Round the design is a rich floral border ; the background is punctured through-
out, as are the alternate squares of the chequered garment worn by Achilles.
Length \o\ in. Diam. 7~ in. 184.7. Gerhard, Etr. Spiegel, iv. pi. 389, p. 37. Rim
injured. The drawing is fine and the execution careful.
624. Nereid, on Hippocamp. She rides to 1., with r. hand raised to her face, and in
1. hand holds the helmet of Achilles (Corinthian, with crest) ; she has thick curling
hair, and wears necklace, earrings, long chiton over r. shoulder, himation over lower
limbs, and shoes. By her head is a star, and round the design a scolloped line.
Diam. 4f in. Castellani, 1873. Round the mirror, a laurel-wreath. The handle
terminates in the head of a horse. Cf. Mon. del! Inst. xi. pi. 8, fig. 2, and a similar mirror-
case in Brit. Mus. (No. 728). This type on Etruscan minors is probably derived from the
South Italian vases (cf. E 130 and F 69 in Brit. Mus.).
625. Death of Troilos. Achilles and Ajax kneel each with one knee on an
altar in the centre, on which stands a small figure of Athene with helmet,
long chiton, shield on 1. arm, and spear brandished in r. ; they are inscribed
respectively : .-^J^a, Achle, and =3R^H, Evas {Aias). Ajax on the r. is bearded,
and has a crested helmet with visor raised, cuirass, and short chiton, and shield
on 1. arm with various patterns ; he brandishes his sword aloft in r. hand.
Achilles is beardless, with long hair, helmet as Ajax, cuirass, short chiton,
endromides, and shield on 1. arm ; in r. hand he holds his sword and the head of
Troilos. Before them lies the body of Troilos' horse, seen from behind and
much foreshortened, on the back of which is seen part of Troilos' drapery, but
his body is not visible ; on the altar is inscribed : NIVOT, Triiile. On the ex-
treme r. is Hector, with 1. leg drawn up and r. hand raised ; he is beardless, with
thick curly hair, endromides, sword slung at side, and shield on 1. arm ; he is
inscribed : aVT^d= , Ecktur. On the extreme 1. is a winged Etruscan goddess,
with r. foot raised on a rock, r. hand on her knee, and a torch in 1. hand ; she
has thick curly hair fastened with a fillet, short embroidered chiton, girt up and
hanging in a koXtto^, and endromides ; she is inscribed : OMA^ : , Vanth. In the
background is a tetrastyle temple with Ionic columns. The ground of the design
is punctured all over ; round it is a wreath of leaves, tied in three places, ending
in two pine-cones. On the back of the mirror is inscibed : AKllOVM, Sutkina.
Diam. 6] in. From Bolsena. Castellani. 1873. Gerhard-'Korte, Etr. Spiegel, v. pi. no
p. 146 ; Bull. deW Inst. 1875, P- 86 ; Corssen, Sprache der Etrusker, i. p. 1007 ; Fabretti, Suppl.
iii. No. 315 ; M filler- Deecke, Etrusker'1, ii. p. 495 ; Ann. deW Inst. 1881, p. 161 ; Murray in
Academy, xv. (1879), P- 2QI- The faces of Achilles and Troilos are obliterated. The handle ends
in the head of some animal. The subject occurs on many Etruscan sarcophagus-reliefs (cf.
Brunn, I rilievi d. urne Etr. i. pi. 54, No. 14; pi. 56, No. 18; pis. 62-65, Nos- 29-36). All
the.se Etruscan types appear to be derived from one original Greek composition. For the
death-goddess Vanth, see Korte in Ann. dell' Inst. 1879, p. 302.
96 CATALOGUE OF BRONZES.
Toilet of Helen. On a stool in the centre, with two cushions, one
embroidered, sits Helen to r., with her feet on a footstool ; she wears two
necklaces, armlets with pendants,* circular earrings, bracelets, long chiton,
himation over lower limbs, and laced-up shoes. Her toilet is being performed
by three female attendants, of whom the one on the 1. is fastening an
embroidered double sphendone round her head, while the middle one holds up a
mirror, and the third adjusts the sphendone with r. hand, placing the 1., which
holds an acus discriminalis, on her chin. Above her is inscribed : <^X\^aaa\AA,
MalafiscJi, a name often applied to the chief figure in a bridal toilet scene
(Gerhard, Etr. Spiegel, iii. p. 204). The first attendant has long hair, and
wears a sphendone, large earrings of a common Etruscan type (as seen in the
Gold Ornament Room, case E), bracelets, long transparent chiton, and
sandals ; she is inscribed : pi'C, Epie (?). The middle one has wavy hair, and
wears a high sphendone with pattern of leaves, necklace, himation, and shoes ;
she is inscribed: JAIOHI^, Hinthial. The third has short hair, and wears
a double sphendone, circular earrings, necklace, bracelets, armlet with pendants
on 1. arm, long chiton with looped-up sleeves and himation, both transparent,
and sandals ; she is inscribed : |VOHVW, Munthuch. In the field above, seven
stars and a crescent moon. On the r. stands Aphrodite looking to I., wearing
sphetidone with lozenge pattern, earrings as the first attendant, necklace with
pendants, long chiton, himation, and shoes ; in r. hand she holds a sprig of
myrtle, and her 1. is muffled in her himation. On her 1. shoulder is perched a
dove, and at her side is a swan looking up; she is inscribed: Hdau-f, Turan.
In the exergue, two cocks confronted, as if about to fight ; the ground is punctured
all over.
On the handle is a nude, bald-headed boy, perhaps Tages, squatting down
to the front, looking to 1., wearing a belt over 1. shoulder, from which hang three
bullae ; he holds in either hand the end of an ivy-branch which encircles the
design.
Diam. 7| in. Length 12 in. 1865. Durand Coll. {Cat. 1969) ; Pourtales Coll. {Cat. 656).
Gerhard, Etr. Spiegel, ii. pi. 213, iii. p. 203 ; id. Metallspiegel {Ges. Akad. Abhandl. i. p. 125),
note 129, and Schmiickung d. Helena, p. 8 ; Daremberg and Saglio, Diet, des Antiqs. i. p. 64,
fig. 105 ; Ann. delP Inst. 185 1, p. 150; Corssen, Sprache der Etrusker, i. p. 338, and see p.
340; Fabretti, C. I. Ital. 2475 ; Panofka, Die Malachisch {Berl. Akad. Abhandl. 1846), pi. 1,
fig. 2, p. 221. The word Malafisch or Malacisch is supposed to be connected with paXciKr)
(cf. No. 542), and to have reference to the qualities of the bride.
Menelaos seizing Helen. In the centre Helen to r. grasps the Palladion
with both hands, looking back to 1. ; her r. foot is advanced, and she has
richly-curling hair, earrings, necklace, himation over lower limbs, and shoes.
The Palladion stands on a high moulded pedestal, down the shaft of which are
astragalus and other patterns ; the figure stands to r., with 1. foot advanced ; her
hair is gathered up, and she wears earrings, necklace, crested helmet, long girt
* Similar armlets are sometimes seen on Etnucan vases, e.g. F 484 in Brit. Mus.
ETRUSCAN BRONZES OF FINEST PERIOD. 97
chiton, regis with Gorgoneion, and shoes. The aegis is bordered by two snakes
with rearing heads, crested and bearded ; on her i. arm is her shield, and in 1.
hand a spear. On the 1. Menelaos stands with drawn sword in r. hand, seizing
Helen by the hair with 1. ; he is beardless, with curly hair, crested helmet, and
richly-ornamented cuirass, under which a short chiton is just visible. Above
him is inscribed: 3J\A3Wl, Menle. In the background is Aphrodite to the
front, looking slightly to 1., wrapped in a himation veiling her head ; she wears
earrings. Above her is inscribed : UddVT, Turan. On the extreme 1. stands
Thetis, with r. hand grasping Menelaos' r. arm and 1. round his waist, as if to
prevent him from attacking Helen ; she has thick wavy hair gathered in a top-
knot over the forehead, earrings, necklace, long girt chiton, with looped-up
sleeves, himation over 1. shoulder, and shoes. She is inscribed : *I030, The this ;
behind her are indications of rocks. On the r. of the scene stands Ajax to the
front, looking down at Helen ; he has elaborately-curled hair and beard,
chlamys fastened in front, shield on 1. arm, and spear in 1. hand. Above is
inscribed: */niA, A if as ; between him and the Palladion, 33£, Cfera (?). On
the extreme r. is Polyxena to 1., holding a spear in r. hand, and catching up
her drapery with 1. ; she has long richly-curling hair, earrings, necklace, himation
leaving the greater part of the body bare, and shoes. Above her is inscribed :
AM^Qv'V©, Phulphsna. In the background is a horizontal band of ornamental
pattern, possibly indicating a temple, above which is seen the upper part of Eos
in her four-horse chariot to the front, rising out of the waves ; her hair is parted
and waved, and she wears a necklace. Below the design is a figure of the
youthful Heracles crouching down, half turned to r., with curly hair, holding
up his club in r. hand and bow in 1. Behind him the lion's skin is hung up like
a curtain, tied to two pegs ; above is inscribed: ^v/>a^a, Hercle. He kneels
on a kind of stool,* from which hang three pairs of amphorae.
Ht. \2\ in. Diam. 7 J in. From Cervetri. Castellani, 1865. Gerhard, Etr. Spiegel, iv.
pi. 398, p. 46 ; Mon. delP Inst. viii. pi. 33 ; Ann. 1866, p. 390 ; Bull. 1865, p. 244 ; Baumeister,
i. p. 747, fig. 799 ; Roscher, Lexicon, s.v. Menelaos, p. 2785 ; Martha, EArt Etrusque, p. 551 ;
id. UArcheologie Etr. et Romaine, p. 107 ; Arch. Zeit. 1864, Anzelger, p. 288* ; Monatsber.
d. Berl. Akad. 1865, p. 674 ; Fabretti, C. I. Ital. 2346, bis b. The drawing of the figures is very
refined and masterly, especially Ajax and Menelaos. In good condition, with fine patina.
628. Reconciliation of Teuthras and Auge by Aphrodite. In the centre
is Teuthras, turning to 1. and placing his r. hand in that of Auge ; he is
bearded, with richly-curling hair, and wears a large laurel-wreath, necklace
with pendants, armlet on 1. arm, and drapery round his lower limbs held up in 1.
hand. Auge stands facing him, with 1. leg crossed over r. and 1. hand supporting
her brow ; she wears a laurel-wreath, earrings, bracelets, necklace as Teuthras,
long sleeved chiton, himation over 1. shoulder, and shoes. On the r. is Aphrodite
seated to 1., holding a sceptre with trefoil top in r. hand ; her hair is rolled up
* This may be intended for a raft supported on amphorae, with the lion's skin spread out for a sail ;
compare an Etruscan scarab in King, Antique Gems and Rings, ii. pi. 34, fig. 6. and Gerhard, op. cit. p. 51,
H
98 CATALOGUE OF BRONZES.
under a coif, and she wears earrings, necklace, bracelets, shoes and himation over
lower limbs, one end of which is caught up over her 1. shoulder. On the 1. is a
doe to 1. cropping a flower from a tall branch ; in the background is a heroon or
portico supported by two Ionic columns, with pediment and ornamental cornice,
and behind Aphrodite a smaller building. In the exergue is an animal lying
down to 1., either a dog or a hind ; below, tendrils.
Diam. 7| in. Payne Knight Coll. 46. Formerly in Museo Gaddi at Florence.
Gerhard, Etr. Spiegel, ii. pi. 169 (reverses the design), iii. p. 163. Cracked nearly
across ; handle broken off. Minute execution, but belonging to a late period, with much
exaggeration in the hair and features. In the nude forms the shading is indicated by
finely-hatched lines.
629. Talos wrestling with the Dioscuri. In the centre is Talos, a tall
youth of an athletic appearance, wrestling with the two Dioscuri, who are
rather shorter in stature ; he has one arm round the neck of each, and they
grasp him round the body. All are nude and have short curly hair confined by
fillets; they are inscribed respectively: VBfl^V^fl^, Chahichasa ; 3>llVTWV/\
Pulutuice, Polydeukes (the one on the 1.); VdTVSAM, Kasutm, Castor (on
the r.). On the 1. is Athene watching ; she wears a high-crested helmet,
earrings, long sleeved chiton, and himation, and has a spear in r. hand. On
the r. is Aphrodite leaning forward and holding up with 1. hand the lid of a box
standing on a plinth ; she extends r. hand, and wears a coif over her hair, and
long sleeved chiton with apoptygma ; she is inscribed : HAfjVT, Turan. Above
her is an indication of clouds (?). In the exergue, an acanthus-plant with spirals,
and two balls.
Diam. 7 in. Length 10J- in. Found at Chiusi, 1826. Hertz Coll., 1859 {Cat. 1851, p. 148).
Gerhard, Etr. Spiegel, i. pi. 56, 1, iii. p. 52 ; Micali, Storia, pi. 46, fig. 1 ; Arch. Zeit. 1846,
p. 317 ; Fabretti, C. J. Ital. 479. Part of left side broken away. In the nude forms the
shading is indicated by finely-hatched lines. For the subject, compare the vase in the Jatta
Collection (Baumeister, Dcnkmiiler, iii. p. 1722, fig. 1804); also Mercklin, Talossage.
630. Dionysos, Ariadne, and Semele. In the centre of the scene stand
Dionysos and Ariadne embracing, her 1. arm placed over his 1. shoulder from
behind, and her r. hand on his breast ; he holds a lyre, rudely drawn, in his 1.,
and turns his face to be kissed by her. Dionysos is beardless, and wears a
chlamys over his arms ; above him is inscribed : 0V0VVNS, PJutpJiluns. Ariadne
is the taller of the two : she has curly hair, and wears ampyx, and opisthosphcndont,
earrings, necklace, a band with pendant amulets on her chest, long chiton with
looped-up sleeves, and himation over 1. shoulder ; above her is inscribed : rtOfl^art,
Areatha. On the r. Semele is seated, with r. hand on her knee ; she has curly
hair, and wears an ampyx, earrings, necklace and band below as Ariadne, and
himation over lower limbs ; on her body are rows of closely-incised markings.
Above her is inscribed: AJ\AA3\, Semla. On the 1. is a youthful Satyr with
very snub nose and thick hair, holding a thyrsos (?) in r. hand and placing 1. on
ETRUSCAN BRONZES OF FINEST PERIOD. 99
Ariadne's shoulder ; he is inscribed : SilWE, Sinte (i.e. 2^69). Below is a
palmette resting on volutes, and round the design an elaborate scroll-pattern.
Length 12 in. Diam. 7f in. Chiusi, 184.7. Gerhard, Etr. Spiegel, iv. pi. 299, p. 31 ;
Arch. Zeit. 1847, p. 187 ; 1859, pi. 131, p. 104 ; Heydemann, Satyr- u. Bakchennamcn, p. 33 ;
Corssen, Sprache der Etrusker, i. p. 324, § 108, and p. 831 ; Fabretti, C. I.Ital. 477 bis. In the
nude forms the shading is indicated by finely-hatched lines.
631. Satyr and Maenad. On the 1. is seated a Satyr, with 1. foot drawn Plate XIX.
back, holding a thyrsos in 1. hand, his r. extended to a Maenad, who sits opposite
him, holding a thyrsos head downwards in 1. hand ; the Satyr has long hair and
pointed ears, and is nearly bald. The Maenad wears an ampyx and shoes, and
underneath her is a mantle, one end of which is caught up over her 1. shoulder ;
her r. foot is drawn back, and r. hand placed on her knee.
Length 8f in. Diam. 6\ in. Towneley Coll. Gerhard, Etr. Spiegel, i. pi. 94, fig. 2, iii.
p. 100 ; Vaux, Handbook to Brit. Mus. p. 421. Round the design is an ivy-wreath with berries,
springing on either side from a palmette in the exergue. The drawing has more of the Greek
spirit than usual.
632. Phaon and Euterpe (?). On the 1. is Phaon seated on rocky ground to r.,
holding a lyre in 1. hand and the plectrum in r. with which he has just struck the
cords ; he is beardless, and wears a wreath (corona sutilis), and himation over 1.
shoulder and lower limbs. He is inscribed : n VA0, Phaun. Before him is a woman
to 1. dancing, wrapped in a himation and wearing shoes ; her face is turned upwards ;
before her is inscribed : Aiam^, Evrphia, which has been interpreted as Eumorphia,
but according to Bugge (Deecke, Etrusk. Forsch. u. Studien, iv. p. 15, 2) repre-
sents Euterpe. Behind her is a woman seated on rocky ground to 1., with short hair,
ampyx, earrings, necklace, bracelets, armlet with pendants on 1. arm, long girt
chiton, fastened with brooches on the shoulders, and sandals ; she holds a cylindrical
cista (probably one like No. 641) in 1. hand on her lap, and in r. an acus dis-
criminalis or discerniculum (an instrument used by women for parting the hair).
Below her, an acanthus plant. In the exergue is a Satyr reclining on his 1. side,
wearing shoes ; in his 1. hand is a thyrsos, and in r. he holds up a kylix with the
forefinger through the handle (in the manner known as KOTTafil%cov, characteristic
of cottabos-players, cf. the Brit. Mus. vases F 37, etc.).
Diam. 7 in. Length io| in. From Cervetri. Castellani, 1865. Gerhard-Korte, Etr.
Spiegel, v. pi. 32, p. 40 (discusses the subject at length, with reference to two other mirrors) ;
Bull, dell' hist. 1865, p. 243, No. 2 ; Arch. Zeit. 1864, Anzeiger, p. 288 * ; Fabretti, 2346 bis d.
Round the design a rich border of oak and laurel-leaves, springing from a floral ornament
beneath the Satyr.
633. Caeus and the Vibennas. In the centre is Cacus seated on rocky
ground to r., playing on a lyre with a plectrum ; he has long curly hair,
necklace, and himation over lower limbs, and looks downwards with a pensive
expression. At his r. side is seated, also on a rock, a youthful male figure,
Artile, holding on his lap an open pair of tablets (diptychon), on which are
H 2
IOO CATALOGUE OF BRONZES.
Etruscan letters ; he looks downwards, and has elaborately-curled hair ;
himation over lower limbs. These figures are inscribed respectively : \OA}, Cacu,
and 3V!faA, Artile. In the background are two trees and a high rock7 over
which is seen the face of a beardless Satyr or other wood-deity, with rough hair
and pointed ears. On either side of this group are the two Vibeimas, Caelius
on the 1. and Aulus on the r., apparently taking the other two by surprise, as they
seem to approach unobserved. Caelius, whose face is obliterated, stands with r.
leg drawn up ; he has long hair, conical cap, cuirass, short chiton, chlamys fastened
with a brooch in front, endromides with tops turned over, shield on 1. arm with
a star in the centre, and a sword in r. hand. Aulus is similarly attired ; he is
bearded, and has no sword, but holds the rim of his shield with r. hand. They
are inscribed respectively: SAI/IIM^/ia:), Caile Vipinas, and *AMIM=T;3\/3A, Aide
Vipinas. The background is punctured all over ; round the design is a vine-
wreath with bunches of grapes.
On the handle of the mirror is a winged boy moving to r., looking to 1., with
chlamys over 1. shoulder, shoes, and pedum in r. hand brandished over 1.
shoulder.
Diam. 5! in. From Bolsena. Castellani, 1873. Gerhard-Korte, Etr. Spiegel, v. pi.
127, p. 166 j Bull, dell' Inst. 1868, p. 216 ; Fabretti, Suppl. i. 376, Suppl. iii. p. 233 ; Corssen,
Sprache der Etrusker, i. p. 1005 ; Miiller-Deecke, Etrusker? i. p. ru, note 128 ; Deecke, Etr.
Forscliungcn, iii. p. 89 ff. and p. 384 ; Gardthausen, Alastama oder Serv. Tullius, p. 33. Similar
subject on three Etruscan sarcophagus-reliefs and a wall-painting at Vulci (see Jahrbuch, xii.
(1897), p. 70 ; Brunn, I rilievi dcllc urne Etrusche, ii. pi. 119, p. 54 ; and Korte, loc. cit.).
634. Toilet of Aphrodite. In the centre is Aphrodite seated on a four-
legged stool to 1., with feet on a footstool ; in her 1. hand is a myrtle-branch.
She wears a wreath and sphendone, earrings, necklace, armlet on 1. arm with
pendant bidlae, bracelet on r. in the form of a snake, long chiton with looped-
up sleeves, bordered himation drawn over back of head as a veil, and sandals ; on
the stool is an embroidered cushion. On either side of her head is a dove ; below
her stool is inscribed : l/ldav v, Turan. On either side of her is a female attendant,
the one on the 1. having wings, and inscribed aCM^A, Achvizr (?) ; she draws
forward the veil with 1. hand, and holds up a mirror in r., with a sash over the wrist.
She has curly hair, earrings, necklace, armlet on r. arm, long chiton with apoptygma,
and shoes ; the other is similarly attired, and holds an alabastron in 1. hand, and a
long pin in r., with which she touches Aphrodite's 1. cheek. Each carries a taenia
over one arm. In the exergue, below a band of chevron-pattern, is a Seilenos
reclining on his back, with r. foot raised, holding a kylix in r. hand, with forefinger
through the handle, in the manner known as KOTTafitfav (cf. No. 632). Below
him is a large crater with volute handles ; round the design an olive-wreath.
Diam. 7l in. Ht. lo| in. 1S47. Gerhard, Etr. Spiegel, iv. pi. 319, p. 51 ; Bull. delP
Inst. 1847, p. 106 ; Arch. Zeit. 1848, p. 331 ; Fabretti, C. I. Ital. 2496.
635. Woman between Two Youths, perhaps a mother and two sons. In
the centre is a woman standing on rocky ground to r., looking downwards,
with r. hand holding up her drapery and r. foot drawn back ; she has curly hair,
ETRUSCAN BRONZES OF FINEST PERIOD. IOI
and wears a laurel-wreath, necklace, and two armlets on r. arm, one with
pendants, long chiton with looped-up sleeves, himation over 1. arm, and shoes.
She lays her 1. hand round the neck of a youth facing her ; his r. foot is drawn
back, and he wears a garment round his thighs, twisted up over 1. arm. On the
1. is another youth to the front, looking to r. and placing 1. arm on the woman's
r. shoulder ; his r. arm is muffled in his himation. In the exergue is a river-god
to the front, with horns and ears of a bull, and legs ending in a double fish's
tail, holding in either hand the end of a lam el-branch which encircles the design.
Diam. 6} in. From Palestrina. Castellani, i8>4 {Sale Cat. 424). Gerhard-Korte,
Etr. Spiegel, v. pi. 150, p. 197.
636. Cover of Mirror-Case. On the cover are two figures of Athene^
exactly similar, seated opposite each other, with faces to the front ; each has
curly hair, helmet, aegis with rude Gorgoneion, scales, and border of snakes,
long girt chiton and apoptygma with border of scroll-pattern, himation over
lower limbs, necklace, bracelets, and sandals ; the bracelets are in the form of
snakes. They are seated on rocks, and each holds a spear in the further hand ;
at the side of each is a shield with incised patterns (volutes and tongue), and
device of a snake coiled in relief.
Diam. 7- in. Gerhard, Zwei Minerven (8to Winckelmannsfestpr.), with plate ; id, Etr.
Spiegel, iii. pi. 241, p. 234, and v. p. 13 ; Murray, Handbook of Gk, Archaeology, p. 231 ; Ephem.
Archaeol. 1890, p. 1 and plate ; Bull. delP lust. 1846, p. 100 ; Lenormant and de Witte, Elite
Ce'ram. i. p. 298 ; Bull, de PAcad. de Bruxelles, viii. i. p. 9 ff. Injured ; faces of both figures
lost ; handles remaining. Very high relief ; good patina. For double types of a deity see
Ann. delP Inst. 1857, p. 204; Hill, Brit. Mus. Cat. of Coins of Lycia, etc., p. Ixxv. ; and
A then. Mittheil. xxi. (1896), p. 277.
C. CISTAE, VASES, etc. (637-669).
637. Cista. The middle part of the body is broken away, but ten rings which
had been attached to it still remain ; it was apparently decorated with an open-
work pattern, of which fragments remain. The feet are in the form of lion's
claws on plinths, and above each is a relief of a Sphinx seated to 1., with face
and feet to the front, long hair, and wings spread ; the attitude is cramped and
awkward ; below is a volute.
On the cover is incised (within a border of palmettes and lotos-flowers) a
frieze of combatants ; the figures, ten in all, are beardless, and wear short
chitons and cuirasses with chequer-patterns. The first is falling to 1. and
looking up, with shield on 1. arm ; the next leads a horse (on his further side) to
r. ; he has a spear in 1. hand, and crested helmet with cheek-pieces turned up.
Next a similar warrior to r., with sword in r. hand and shield in 1., has just
wounded a warrior, who falls back to r. with head thrown back ; his sword falls
from his hand ; between these two is a spear with amentum lying on the ground.
The next (as the last but one) leads up a horse to r. ; he has a sword in r. hand,
and advances towards a warrior who is fallen to 1. ; he has long hair and a
cuirass without pattern, otherwise as the first figure. The next two warriors
102 CATALOGUE OF BRONZES.
have crested helmets and spears in 1. hands ; the first leads a horse to 1., and the
other, who has a shield, has just wounded a warrior, who falls like the second
fallen one above ; his sword falls from his hand, and on the ground is his crested
helmet. Last is a warrior leading a horse to r. ; he has a helmet and spear, and
on the ground below is a sheathed sword. The ground is rocky throughout.
The handle is formed by two beardless warriors with crested helmets
(cheek-pieces turned up), cuirasses, and short chitons, who are carrying the dead
body of a third extended at full length with head fallen back to 1. ; he is beard-
less, with thick hair, and his hands are placed on his hips.
Ht. 19! in. From Palestrina. Castellani, 1873. For the group on the top, cf. Mon.
deW Inst. viii. 31.
638. Cista. Round the body is a frieze representing the sacrifice of Trojan Plate
captives at the funeral pyre of Patroclos : In the centre of the scene is the XXXI.
pyre, composed of logs placed alternately lengthways and endways, on which
are placed the cuirass and two shields of Patroclos ; the shield on the 1. has
a Gorgoneion as device, with radiated border, the other a seven-point star.
On the 1. is Achilles to r., with 1. foot advanced, plunging a sword into the neck
of a Trojan captive, whose hair he grasps with 1. hand ; he is beardless, and his
hair is cut quite short (cf. //. xxiii. 141) ; he wears a short chiton and cuirass,
and below, resting against a rock, is his shield. The captive is seated on the
ground to r, with an expression of anguish, his head thrown back, and his
hands tied behind ; he is beardless and nude, with thick curly hair ; blood flows
freely from his neck, and his death-pangs are indicated by the drawn-up toes.
On the r. is another captive, similar to the first, standing to the front, looking
down at the first, with hands tied behind back ; behind him is a rock, on which
is placed a bordered chlamys, and on the rock is a tree, round which the rope
that ties his hands is fastened. On the r. a nude bearded captive, with hands
tied behind him, is led up by a Myrmidon, nude and beardless, who holds
his 1. wrist with r. hand, and the other end of the rope in 1., and looks back to r.
On the rocks in the background are a conical helmet (shape as No. 2717) and a
bordered chlamys. Next is a similar group ; the Myrmidon looks to 1., and
wears a cuirass, short chiton, and greaves ; in r. hand he holds up a helmet
which he is about to place on the pyre, and in 1. he holds a spear. Against
the rocks between them is a shield with device of a star and radiated border.
The last group on the r. is composed of a captive, seated as the first one,
looking up in terror to 1. at a Myrmidon (seen in back view), who holds
the end of a rope with which his hands are tied behind him, while another
on the r. is about to plunge a sword into his neck. All three are nude
and beardless, except that the Myrmidon on the r. wears a loin-cloth ; on
the rocks is placed a bordered chlamys. On the 1. of Achilles is a female
deity, perhaps an Etruscan Fury or Lasa, standing to the front with r. leg
crossed over 1., leaning 1. arm on a rock, and holding in r. hand the end of a
rope with which the hands of a nude beardless captive are tied behind him ; he
ETRUSCAN BRONZES OF FINEST PERIOD. IO3
is seated to 1., with bent head turned to his 1. The female figure looks down to
r., and has short hair, short girt chiton, and cross-belt. On the 1. a nude youth
rushes up with 1. leg advanced, holding out a greave in either hand to be placed
on the pyre. The scene is closed on the 1. by Athene, who stands to the front,
with spear in r. hand and a sheathed sword in 1. ; she has flowing hair, crested
helmet with cheek-pieces turned up, snake-bracelets, long sleeved chiton with
apoptygma, aegis with fringe of snakes and Gorgoneion, and girdle formed of
two snakes knotted together. On the rock by her 1. shoulder is an owl to 1.
The background of the scene is rocky throughout, with occasional trees and
flowers. Above the design is a twisted ivy-wreath, and below a band of
palmettes.
On the cover is incised a design representing three Nereids riding on
marine monsters, with the armour of Achilles : The first one is seated sideways
on the r. side of a Hippocamp moving to r., round the neck of which her 1.
hand is placed, and holds the sword in r. hand ; her hair is gathered in an
embroidered opisthosphendont, and she wears earrings, necklace, and bracelets,
and drapery floating on either side of her. The next rides on a dolphin with
the head of a boar, her 1. hand raised, and holding in the r. a greave ; she wears
earrings, necklace, bracelets, bordered himation over her shoulders, and shoes.
The third rides on a Pistrix, holding up the other greave in r. hand and resting
1. on the neck of the monster ; her hair is twisted over a fillet, and she wears
earrings, necklace, bracelets, and himation round lower limbs. On the 1. of her
is a dolphin diving down to r., and below all round is wave-pattern, indicating
the sea. The design is bordered by a laurel-wreath.
On the cover is a handle formed by a group of a youthful Satyr and a
Maenad, half-turned towards each other ; the Satyr stands with both hands
extended and r. leg advanced. The Maenad leans back to her r., with 1. hand
extended to meet the Satyr's r. hand, and holds some broken object in r. ; her
hair is rolled up all round, and she wears a fawn-skin with the feet fastened on
the r. shoulder. The feet of the cista are in the form of lion's claws ; above
each, a relief of Eros kneeling on r. knee, face to front, in r. hand a club or
hammer.
Ht. I4f in. From Palestrina. 1859. Revil Coll. Raoul-Rochette, Mon. Ined. pi. 20, p. 90 ;
Inghirami, Gal. Omer. ii. pis. 167, 215 ; Overbeck, Her. Bildw. pi. 19, fig. 13, pp. 440, 484 ;
Steinbiichel, Atlas, pi. 16, fig. 1 ; Gerhard, Etr. Spiegel, i. pis. 15, 16, fig. 1, pp. 29, 49 ;
id. Hyperb. rbm. Stud. i. p. 96 ; Stackelberg, Kunstblatt, 1827, Nos. 32, 33, 47 ; Mon. Ined.
della soc. iperb.-romana, pts. i.-ii. (1828), pis. 1, 2 ; Heydemann, Nereidai mit Waffen, note 43,
No. 14 ; Murray, Handbook of Gk. Archaeology, p. 135 ; Jahrbuch, xii. (1897), p. 67 ; Schdne in
Ann. deir Inst. 1866, p. 163, No. 8.
The drawing of the frieze round the body is most masterly, and the composition bold and
varied, comparing well with the Ficoroni cista ; it is quite Polygnotan in conception, and may
be attributed to the fourth century B.C. The scene round the body is taken from Iliad xxiii.
175-6 ; the composition of that on the cover may be compared with the Brit. Mus. vase
(Cat. iv. F 69), with Thetis and two Nereids, each riding on a different type of sea-monster.
Round the body eight rings (one lost) are attached, for chains by which the cista was
suspended ; the fastenings cover parts of the design.
104 CATALOGUE OF BRONZES.
639. Cista. The middle part of the body is lost, except eight rings with the
discs for attachment ; the feet are in the form of lions' claws, and above each is a
medallion with relief of a Chimaera crouching to r.
On the cover, within a border of laurel-wreath, are incised four Nereids
riding on sea-monsters to r. ; they recline on the r. side of the monsters, and
wear earrings, shoes, and long girt chitons with bordered apoptygma. In the
first and third groups the monsters have the head and claws of a dog (Pistrix as
on No. 638), in the second and fourth, the head and legs of a sea-horse ; the hair
of the first is arranged in rolls at the back, and she wears a necklace, bracelets,
and armlet of beads. The third wears necklace and bracelets ; the other two
wear necklaces of beads, and armlets of pear-shaped pendants. Three of the
Nereids have the r. hand raised to near the head, the 1. holding on to the neck
of the monster ; the fourth has both arms round its neck. Three have the head
looking forward, the fourth looking back.
The handle is formed by a group of two wrestlers, nude and beardless, who
stand with heads in contact and arms locked behind their heads.
Ht. i8| in. Diam. 13! in. From Palestrina. Castellani, 1884 {Sale Cat. 364).
640. Cista. Round the body is a frieze comprising three groups of figures :
(1) Bellerophon and. Stheneboea: Bellerophon stands to the front, with r.
hand resting on spear, holding Pegasos by a halter in I. ; he is beardless, and
wears petasos slung at back, chlamys fastened with a brooch in front and hanging
in pterygcs over 1. arm ; his sword hangs from a belt at his I. side. His spear
has an amentum and two rings towards the lower end ; Pegasos has a necklace
of bullae, and wings addorsed, and paws the ground with 1. fore-leg. Beneath
Pegasos are a large spaniel running to r. and a large grasshopper or locust
going up a hill to r. On the 1. is Stheneboea standing nearly to the front,
with r. leg bent, placing 1. hand on Bellerophon's r. arm ; she wears a beaded
stephane, earrings, necklace, bracelets, shoes, long chiton with looped-up sleeves,
and himation with astragalus border caught up over 1. arm.
(2) Paris (?) and Victory : Paris stands to r., with spear held by the
amentum in 1. hand ; he is beardless, and wears a Phrygian helmet with engrailed
ridge, short chiton, cuirass, greaves with rings (?) attached to the lower edge, and
sword with belt ; at his side is a shield with mask in relief. He looks at
Victory, who advances towards him, holding out a phiale in r. hand ; in her 1.
is a prochcos ; her hair is gathered in a reticulated opisthosphendone, and she
wears earrings, necklace, bracelet on 1. arm, long girt bordered chiton with
apoptygma, and shoes. On the r. is an Ionic column, round the necking of
which a sash is tied.
(3) Menelaos and Helen (?) : Menelaos stands to the front and with r.
hand is about to take off his sword-belt, while he holds the sheath in 1. ; he is
bearded, with long hair, conical helmet with band of chevrons, cuirass, short
chiton, and greaves ; at his 1. side is a shield with Satyric mask in relief. On
the 1. is Helen nearly to the front, holding a procho'os in r. hand and a pliialk
ETRUSCAN BRONZES OF FINEST PERIOD.
I05
in 1. ; she wears a beaded stephank, earrings, necklace, bracelet on r. arm, shoes,
long girt chiton, and himation caught up over 1. arm. Between them is a
pigeon flying to 1. ; on the r., the skull of an ox.
In all three scenes the ground is more or less rocky, with occasional flowers
and plants. Above the designs is a band of palmettes and lotos-flowers ; below,
of horizontal palmettes with tendrils. The feet are in the form of lion's claws,
on which are reliefs of Sphinxes, full face, standing on tendrils.
On the cover, two Nereids riding on sea-monsters : The first is seated on
the r. side of a Hippocamp, with 1. arm round its neck ; she wears a long chiton,
and himation over lower limbs. In the field, an owl to 1., two fishes, and
flowers ; on the r., an octopus. The other is seated in a similar attitude, with
1. hand extended ; she wears a bracelet on 1. wrist, and long girt chiton with
apoptygma ; her hair is parted and falls over her ears. In the field, three fishes,
a dolphin, and flowers. Round the whole, a border of wave-pattern.
The handle is formed of an athlete and a female figure, both nude ; the
female figure has her hair rolled up all round, and wears a necklace with bulla,
bracelets, armlet on 1. arm, and shoes, in r. hand an alabastron ; she places 1.
arm on the athlete's back. He has short curly hair, a thong wound round 1.
arm, and shoes ; in his 1. hand are a strigil and lekythos, and he places r. hand
on the other's 1. side. He appears to be copied from a fourth century Greek
original.
Ht. 19 in. Diam. 9^ in. Castellani, 1884 {Sale Cat. 362). Drawing free and rather
careless. The feet have become detached.
641. Cista with tubes for unguents. The
cista has a cover perforated with a large
hole in the centre, and eight smaller round
the edge ; in five of these smaller holes the
tubes still remain intact ; in the rim are two
smaller holes. It stands on three human feet
to r.
On the top was a figure of Hermes, now
broken off; his r. hand is extended, and he
is beardless, and wears a winged
petasos, and himation over 1.
shoulder, in which 1. arm is muf-
fled, embroidered with trefoils of
dots and borders of small circles.
On his 1. foot are remains of an
endromis.
Ht. of cista, 5! in. ; of the Hermes,
3 in. Civita Castellana, 1892. The
feet of the Hermes are wanting. Good
patina.
Fig. 17 = No. '541.
Fig. 16 = No. 641.
106 CATALOGUE OF BRONZES.
642. Heracles overcoming the horses of Diomede. The horses rear on their
hind legs ; they wear collars with bullae. Heracles stands between them with
hands extended, as if to hold them ; he is beardless, and wears the lion's skin
over his head and tied in front, the mane of which is continued down the back
as a ridge of plaited hair (cf. No. 650).
Ht 6| in. From Palestrina. Castellani, 1865. Mansell, Brit. Mus. Photographs,
808 ; Roscher, Lextkon, i. p. 2226. Found in a cista, to the cover of which it was probably
attached. The horses are carefully modelled, but the style retains traces of archaic stiffness.
643. Seilenos and two Satyrs (?) from top of Cista. On the 1. is a Satyr (?)
with r. arm doubled up, r. leg bent, and 1. hand placed on the back of the central
figure ; his hair is rolled up. In the centre is a Seilenos (?) standing with r.
foot drawn back and up-turned face ; he has a himation over 1. arm and lower
limbs, and in 1. hand holds a staff (?), which is broken away ; his r. hand
clasps the r. hand of the first figure from behind. On the r. is a Satyr (?)
turning towards the central figure, with 1. leg bent, r. hand placed on the old
man's back, and in 1. a pair of flutes ; his hair is rolled up, and he wears
drapery over 1. arm and lower limbs.
Ht. 4{ in. From Palestrina. Castellani, 1873.
644. Foot of Cista, in the form of a lion's claw on a moulded plinth.
Above is a relief representing Typhon (?) to the front with both hands raised,
holding some object above his head ; he is bearded, and his body below the
waist parts into two long coiled tails ; the one on the 1. ends in a goat's head (?),
the other in the head of a bearded snake or sea-monster.
Ht. 4f in.
645. Two figures from top of Cista. They stand to the front, each with
the outer leg bent, outer hand on hip, and inner arms extended along one
another ; the one on the r. is a nude youth with hair rolled up ; the other, a
nude girl, with hair twisted up.
Ht. 4 in. From Palestrina. Castellani, 1873.
646. Two Feet of Cista in the form of lions' claws, above which, in each
case, is the figure of a winged goddess to the knees, with hair parted and
waved under a radiated sphendone and long sleeved chiton with apoptygma ; her
hands are placed on her breast and her wings spread.
Ht. 8-J and gl in. Towneley Coll. One is of better workmanship than the other.
647. Two Feet of Cista, as before, but instead of the goddess, a Siren with
long tresses over shoulders, and fillet ; wings spread. Under the Siren's feet,
a palmette, with tendrils springing up on either side.
Ht. 9} in. Towneley Coll. Slightly archaic.
ETRUSCAN BRONZES OF FINEST PERIOD.
IO7
648. Foot of large Cista, in the form of a lion's claw, above which is an
imitation Ionic capital, on which rests a relief of a Nereid riding on a
Hippocamp to r., seated on its r. side, with face to front, holding the helmet of
Achilles in r. hand, the 1. placed on the mane of the Hippocamp. She has
long hair, and wears a stephane, long girt chiton, himation over 1. shoulder, and
shoes.
Ht. 6| in. Castellani, 1873.
649. Three Feet of a Cista, in the shape of lion's claws on plinths, with
imitation Ionic capitals above, supporting reliefs which represent a three-horse
chariot driving at full speed to 1. over a prostrate man. In each is a beardless
charioteer wearing conical cap and long chiton, the reins round his waist like
a girdle ; the prostrate man lies on his r. side with face to the ground and
1. hand on thigh, r. hand
stretched beyond head ; above
it is drapery which, extending
from the 1. arm, forms a
support for the fore-feet of
the horses ; he is nude and
beardless, with thick hair, and
over his 1. arm is drapery.
Ht. 4f in. From Palestrina.
Castellani, 1873.
650. Situla. On either side,
below the handles, is a relief
of a winged female daemon
or death-goddess holding up
a nude youth with either
hand ; she has dishevelled
hair, with a plait over the fore-
head, and a girt chiton reach-
ing to the thighs ; the figure
terminates in a bird's body
and legs. A very similar
figure is to be seen on a
black-figured hydria in
Berlin {Cat. 2157), pro-
bably of Etruscan fabric,
for which see Jalirbuch, i.
(1886), p. 210 ; this figure
may be called a Harpy, but see Journ. Hell. Stud.
xiii. p. 103 ff., and Arch. Zeit. 1882, p. 197 ff.
Round the upper part of the situla are bands of
I08 CATALOGUE OF BRONZES.
bead-moulding, egg-pattern, and lotos-and-honeysuckle pattern between bands
of hatched lines in triangles ; round the lower part, similar patterns (no bead,
and double oblique palmettes instead of lotos-and-honeysuckle) ; these bands
of ornament are partly modern. The handles are loose and in the form of
cables ; they are attached to double rings each side, and end in large buds ;
between the rings are scollop-shells.
The situla stands on three feet in the form of lion's claws on moulded bases
and square plinths ; above each, resting on an egg-moulding with a volute at
each end, is a group of Heracles strangling the Nemean lion. Heracles
kneels on r. knee to 1., grasping the lion with r. hand round its neck ; he is
beardless, and wears short chiton and cuirass. The lion is seated on its
haunches and places 1. fore-paw on Heracles' 1. knee ; a ridge of plaited hair
extends from the mane to the tail (cf. the group of Heracles and the horses of
Diomede, No. 642). For this type, which differs slightly from the " wrestling "
type of Ionic origin, see Brit. Mus. Cat. of Vases, ii. p. 13.
Ht. I5xin. Diam. 13! in. Found at Offida, Picenum, 1877. Castellani, 1883. Notizle
degli Scavi, 1877, p. 113 ; Arch. Zeit. 1877, p. 179 ; Jahrbuch, 1886, p. 211. Good workman-
ship ; the body of the vase has been much restored, but the figures are in excellent preservation.
651. Situla. Under each side-handle are two masks of Satyrs with long flowing
beards and hair, wearing wreaths (?). On the stem, moulded egg-pattern, and
flutings below ; the situla stands on a square plinth. Round the lip, moulded
egg-pattern ; below, a wreath, incised ; inside the lip is incised an inscription :
rtWOVM 83ll/!3CndB \Zd8iaA/, Larisal Hafrcnics Suthina ; and also the letter A.
Ht. 16^- in. From Bolsena. Castellani, 1868. Bull. dell' lust. 1857, p. 35.
652. Situla with double loose handles, fastened on either side into a double ring,
below which on one side is a head of Athene in high relief, with rich tresses of
hair falling on either side of the face, and crested Corinthian helmet ; on the
other is a Satyric mask, with large open mouth forming a spout (with strainer
inside), below which is a bearded head in relief (cf. Nos. 2484, 2514). On the
shoulder is inscribed : AW0VM*3IT3W/I0ad|y, L\arth Meties Stithina.
Ht. n| in. From Bolsena. Castellani, 1873. Part oi tne inscription is corroded.
653. Epichysis* with wide mouth. The handle ends above in a ram's head, below
in a shield-shaped emblema of Eros(P) to the front, with r. leg crossed over 1.,
chlamys over arms, holding a pedum (?) in 1. hand. On the shoulder is incised :
AWOVMB^it^l/WOqAi/, Larth Meties Suthina.
Ht. 11-j-in. From Bolsena. Castellani, 1873.
654. Epichysis. Similar to the last and similarly inscribed ; oblong medallion,
on which is Heracles to the front with club in r. hand and drapery over 1. arm.
Ht. n| in. From Bolsena. Castellani, 1873. Much corroded.
* For this shape compare Brit. Mus. Cat. of Vases, iv. p. 7, fig. 12.
ETRUSCAN BRONZES OF FINEST PERIOD. IO9
655. Trefoil Oinochoe with high handle and sharply-indented mouth. On
the front is incised: dWOVM33iH3cidByd8iaA</, Larisal Harenies Suthina
(cf. No. 651).
Ht. 12J in. From Bolsena. Castellani, 1868. Bull, dell' Inst. 1857, p. 35 ; Lorenz,
Beitr. zur deutung d. Etr. Inschr. 9 1 .
656. Prochoos. The handle is ribbed, and ends below in a bearded mask with
two upright horns like those of a Cretan goat, wearing a fillet, perhaps repre-
senting Pan ; hair bound with narrow fillet ; on either side is a volute. Above,
the handle terminates in a Sphinx represented as if climbing up the spout,
which is semi-cylindrical ; the wings are addorsed, and the hind-feet grasp the
neck of the vase. On the handle, above the Sphinx, is a palmette ; the foot is
fluted.
Ht. 10J in. Castellani, 1873. Body modern.
657. Patera. The handle is in the form of a figure of Victory, with wings
spread, r. hand on hip, in 1. a jug ; she has long hair tied behind and himation
over lower limbs gathered up under 1. arm. The figure stands on a base in
which a ring is fixed ; at the point of juncture with the bowl are two spreading
acanthus-leaves. Round the edge of the patera are bead and egg mouldings ;
on the rim is inscribed : drllOVM, SutJiina.
Length 25! in. Diam. i6g in. From Chiusi. Castellani, 1873.
658. Patera. The handle is in the form of a girl, with r. hand raised to her
head, and in 1. an alabastron ; she wears a long chiton with apoptygma bordered
with cable-patterns and fastened by brooches on the shoulders, and armlets with
pendants (cf. Nos. 626 and 632). At the side of the patera opposite the handle
is a female head in relief, with carefully-waved hair, of a somewhat archaic type.
Ht. \d\ in. Diam. g\ in. 1851. The bowl is much injured. A large ring is attached
to the stand on which the figure is placed, and a smaller one to the female head.
659. Patera. The handle is in the form of a woman standing on a small base,
with r. hand supporting the bowl, which has a moulded edge ; she has wavy
hair falling over the ears in front and rolled up behind, and wears a fillet, long
sleeved chiton with apoptygma and under-chiton, and shoes.
Ht. 13- in. Diam. 8| in. Canino Coll., 1837. Micali, Storia, pi. 50, figs. 2, 3; De Witte,
Descr. 209.
660. Patera. The handle is formed by the figure of a goddess, who holds up
her skirt with 1. hand and has held out a flower in r. (" Spes " motive) ; she has
long hair, and wears a fillet ornamented with rosettes, long chiton with
apoptygma, woollen under-garment, and shoes. Between the figure and the
bowl is a scroll-pattern.
Ht. 15! in. Diam. 8-| in. The drapery is treated in an archaistic fashion.
I IO CATALOGUE OF BRONZES.
661. Patera. The handle is in the form of a figure of Victory, supporting the
bowl with r. hand ; her wings are spread, and her hair is drawn back to the
nape of the neck, with tresses falling on the shoulders ; she wears shoes and a
himation over lower limbs caught up in 1. hand.
Ht. 15 J in. Diam. iof in. Castellani, 1868.
662. Egg-shaped Vase. The handle forms a semi-circle, inserted in a ring on
either side of the vase, with a ring at the top ; below each ring on the side of the
vase is a head of Acheloos bearded, with a row of curls over the forehead, and
bull's horns. The body is ribbed, with two bands of egg-pattern.
Ht. si in. ; with handle, 8j in. 1851.
663. Ladle (simpuhim). The handle ends above in the head of a deer ; at the
top of the stem at the front and at the back are palmettes. At the back, just
above the bowl, is a relief of a male figure moving to r., looking back and holding
up r. hand ; his hair is looped up, and he wears a chlamys over 1. shoulder.
Ht. io| in.
664. Handle of Vase, ending above in a lion's head between two lionesses
crouching. Below is a mask resembling the type of Bes, with large mouth and
ears, staring eyes, and protruding tongue ; a serpent springs from the head on
either side, and another from each cheek. Hair is indicated on the forehead.
Ht. 61 in.
665. Strigil. The handle is formed by a figure of Aphrodite standing on a
small base, scraping her 1. hip with a strigil held in 1. hand, the r. raised to
her forehead ; she wears shoes, and a fillet ornamented with three flowers ; her
hair is rolled round the fillet and knotted up at the back. The figure rests
against a support in the form of a jointed stalk with leaves at intervals ; on the
back of the strigil is a triple leaf-pattern, moulded.
Ht. 16 in. ; of the figure, 8 in. From Palestrina. Castellani, 1873. Mon. dell' hist.
ix. pi. 29, fig. 3, and Ann. 1871, p. 125 ; Newton, Castellani Coll. pi. 5 ; Pottier and Reinach,
Necropole de Myrina, p. 201. Good style.
666. Female Figure, forming the support of a candelabrum. She is seated in a Plate XX.
chair looking down to her r., and holding a wreath of flowers (?) in both hands ;
her hair is bound by a narrow fillet and gathered up at the back ; she wears a
necklace with bulla, long chiton, and himation ; her feet rest on a footstool.
The candelabrum is in the form of a stem with leaves growing closely round it,
issuing out of a calyx on a base surrounded by knobs, which rests on the head
of the figure. The figure is placed on a circular base with three feet, round
which is incised an egg-pattern.
Ht. 13$ in. From Chiusi. Rogers Coll., 1856. Mon. deW Inst. v. pi. 28, and Annali,
185 1, p. 105 ; Reinach, Repertoire, ii. p. 685, No. 3. The figure is much corroded.
ETRUSCAN BRONZES OF FINEST PERIOD. I I I
667. Candelabrum. On the top is a group of Peleus seizing Thetis. Peleus
stoops to r., with arms clasped round her waist, holding her r. leg fast between
his knees, face to front ; he is nude and beardless. Thetis stands upright with 1.
foot advanced ; with 1. hand she endeavours to disengage Peleus' 1. hand, while
her r. is placed on his back, and round it is twisted a snake, indicating one of her
transformations. Her hair is rolled up, with a plait or twisted fillet passing over
the forehead, and she wears a long girt chiton with looped-up sleeves. From
the top of the stem issue four branches ending in leaves, and round the bottom
of it is a pattern of close-growing leaves ; the stem is fluted. The feet are in
the form of lion's claws on plinths, with palmettes between, and a rich pattern of
palmettes in low relief round the central part.
Ht. 4 ft. 8f- in. De Witte, Descr. 253.
668. Candelabrum. On the top is an athlete standing with 1. leg bent and body-
thrown back, looking to his r. ; his hair is rolled up, and he holds a jumping
weight in either hand. The stem is fluted, and round the top are four branches
ending in leaves ; round the lower end are moulded closely-growing leaves.
The feet are in the form of lion's claws on plinths, with palmettes between.
Ht. 3 ft. 9i in. Canino Coll., 1837. De Witte, Descr. 255.
669. Candelabrum. On the top is an athlete standing with 1. foot advanced,
scraping his r. thigh with a strigil (a7ro^v6/u,evo<;). The stem is fluted, with four
branches ending in leaves round the top ; the feet are in the form of lion's claws
on plinths, with palmettes between and in low relief round the central part ;
round the bottom of the stem is a ring of boars' heads, pointing upwards.
Ht. 4 ft. 1 i in. From Vulci. Burgon Coll.
IV. LATE ETRUSCAN BRONZES, OF FREE STYLE (670-785).
A. STATUETTES (670-694).
670. Part of Group. Ajax supporting the body of Achilles. Only the 1. arm
of Ajax remains, supporting the body of Achilles round the waist ; the latter
falls backwards to L, with 1. arm hanging by his side ; his feet are almost off the
ground. He is beardless, with short, thick hair, helmet with cheek-pieces turned
up and very long crest, cuirass of scales with fringed border of flaps, short chiton
to hips with scolloped border, and greaves.
Ht. 4 in. Payne Knight Coll. Right arm of Achilles lost. Compare the Pasquino group
in Rome (Friederichs-Wolters, 1397). This attribution seems more satisfactory than that of
Menelaos and Patroclos (see Overbeck, Her. Bildw. p. 551).
671. Heracles subduing the horses of Diomede ; only part of the group Plate XX.
remaining. A horse rears up, while on its 1. flank Heracles runs along, pressing
his r. knee against its 1. foreleg and his head against its head ; his r. arm grasps
H2 CATALOGUE OF BRONZES.
it round the neck. He is beardless, and has curly hair ; his 1. arm has been
extended.
Ht. 3| in. Blacas Coll., 1867. Left arm of Heracles and extremities of horse broken off.
The type is similar to that of Heracles and the Cretan bull ; cf. Brit. Mus. Cat. of Vases, ii.
B 309 and the Olympia metope ; see the larger group with this subject, No. 642.
672. Heracles and the Nemean Lion. Heracles stands with both legs bent, Plate XIII.
throwing his weight on the r. ; both hands are clenched round the neck of the
lion, which he holds under his r. arm ; the lion stands on its hind legs with its fore-
paws grasping Heracles' back. Heracles is nude and beardless ; down the neck
and back of the lion is a mane of thick hair carefully arranged in a sort of plait.
Ht. 4i in. Payne Knight Coll. Vaux, Handbook to Brit. Mus. p. 435- Ancient base.
For the type, see Brit. Mus. Cat. of Vases, ii. p. 13 ; for the lion's mane, Nos. 642, 650.
673. Mask of Juno Sospita, with goat's horns and ears.
Ht. 2 in. Rather rude work.
674. Group of Two Warriors in combat. They lean forward with heads
touching and elbows crossed, each placing one hand on the other's head and
holding a dagger in the other hand. They are beardless, and wear elaborately-
incised cuirasses with shoulder-pieces, and short chitons underneath ; the inner
legs are bent under them. Each figure stands on a support formed of a palmette
and volutes.
Ht. 6| in. Length \o\ in. Hertz Coll., 1859.
675. Athlete with Diskos. He stands with r. leg advanced, holding up the
diskos in front of him with both hands, the r. underneath it, the 1. on the top.
He is nude and beardless, and has thick hair rolled up at the back.
On the modern base is affixed a female mask, like an oscillum, with hair
parted and brushed back.
Ht. 6\ in. Hamilton Coll. 10. Murray, Hist, of Gk. Sculpt? ii. p. 274 ; Reinach,
Repertoire, ii. p. 544, No. 10 ; Ann. deW Inst. 1885, p. 169. Small ancient base. Corroded.
676. Athlete. He stands on r. leg, with r. hand on his hip, looking to 1. ; he has
held some object in 1. hand ; he has curly hair and wears a fillet.
Ht. 6g in. From Campania. Castellani, 1873. Rather corroded.
677. Athlete. He stands with 1. leg bent, r. hand extended, 1. by side ; he is
beardless, with hair rolled over a fillet in front and behind ; the eyes are hollow.
Ht. si in. Blacas Coll., 1867. Right hand injured.
678. Male Figure. He stands with 1. leg bent and r. hand on hip ; he is
beardless, with smooth short hair, and drapery round the loins, twisted up
LATE ETRUSCAN BRONZES. I 1 3
round the waist and held up in 1. hand. On the thigh is an inscription of four
lines : —
iYAtv\A> Canvate
A\\AAT\A!X Selvansl.
VWUA\3V\A03* Lethanei Alpnii
■lOa/^-BDaVfH^^ Ecu . Turce . LartJii .
Ht. 6| in. Payne Knight Coll. (xcvii. 3). Fabretti, C. I. Ital. 2582 bis and pi. 44 ; Bull.
deW Inst. 1862, p. 76.
679. Male Figure. He stands with r. leg bent, r. hand on side and 1. extended ;
he is beardless, and wears a garment round his loins caught up over 1. arm.
Ht. 20 in. From the Lake of Faltcrona. Campanari, 1847. Micali, Mon. hied. pi. 14,
fig. 3, p. 98 ; Bull. delP Inst. 1838, p. 67 ; Arch. Zeit. 1847, p. 186.
680. Male Figure. He stands with r. foot slightly advanced, r. hand on hip Plate XII.
and 1. muffled in drapery ; he is beardless and is wrapped in a himation, an end
of which is turned over at the waist and hangs in front with point downwards,
as in No. 449.
Ht. 3x in. Hertz Coll., 1859. Fine green patina ; corroded.
681. Male Figure. He stands with 1. leg bent, looking to his 1. ; he holds part Plate XVI.
of a sword in r. hand, his fingers clasped round the blade, and has held some
object in 1. He is beardless, with rough curly hair, and wears a chlamys over
his shoulders pinned together in front, with a border of circles incised ; the eyes
are pierced.
Ht. f\ in. From Civita Castellana, 1891. Murray, Greek Bronzes, p. 29; Bull. deW
Inst. 1880, p. no. Right side of face much injured ; supports under the feet.
682. Male Figure. He stands on r. leg, and holds an oinochoe in r. hand ; in 1.
he has held out a patera ; his hair is parted in the middle and brushed smoothly
down.
Ht. 5 jj- in. Payne Knight Coll. (xcvii. 4).
683. Youth. He stands on r. leg, and holds out a cantharos in r. hand with a
finger through the handle ; in 1. a small pyxis with radiated pattern on the lid.
He has curly hair brushed up in front, and wears a fillet and bordered chlamys
over 1. shoulder.
Ht. \i\ in. Castellani, 1873. Fine patina. The top of the head is hollowed out for the
insertion of some object.
684. Youth. He stands with legs apart, r. hand held up, 1. extended ; he has
held some object in either hand. He is nude, and has rough hair ; in his breast
a hole is bored. From the action of the r. hand he appears to have been hurling
a spear.
Ht. 7 1 in. The thighs are enormously thick, and the proportions generally wrong.
I
114 CATALOGUE OF BRONZES.
6S5. Boy. He stands with r. foot advanced and 1. drawn back ; r. hand
extended, in 1. he holds out some object. He looks round to his r, and wears a
chlamys twisted over 1. arm and round 1. leg.
Ht. 2f in. Surface in bad condition.
686. Youth. He leans forward with r. leg slightly bent, 1. hand on hip, and r.
hand bent downwards ; he is nude and beardless, and wears a helmet (?).
Ht. 4f in.
687. Youth. He stands with 1. leg advanced, holding out a ball (?) in r. hand ;
his 1. hangs by his side, with open palm ; he has thick short hair combed down
on each side of the head.
Ht. 5j in. Castellani, 1868. Ancient base ; green patina.
688. Boy with Goose. He stands with 1. leg bent and back of r. hand on hip,
holding up a goose of great size in 1. hand, which is also of exaggerated propor-
tions ; he is nude, and his hair is twisted over a fillet in front.
Ht. 3| in. Castellani, 1873.
689. Male Figure (Priest P). He is beardless, and wears a radiated head-dress
or wreath, and a garment reaching from the waist to the knees, caught up over
1. arm ; in r. hand he holds out a patera, in 1. a pyxis.
Ht. 4i in. Hamilton Coll. 16. Coarse work ; very flat. Wieseler, Arch. Beitr. ii.
(Gottingen, 1889), p. 23 ff., identifies this type as Asklepios, and the female one, No. 693
below, as Hygieia. The pyxis he interprets as a medicine chest.
690. Male Figure, as the last ; wears himation over 1. shoulder.
Ht. 5 in. Hamilton Coll. 48. Right foot lost and left injured.
691. Male Figure, as before ; himation over 1. shoulder, caught up over 1. arm.
Ht. 5 1 in. Presented by General Meyrick, 1878. Right arm broken off.
692. Male Figure, as before ; he stands on r. leg ; wears wreath as before,
and himation ever 1. shoulder reaching to knees ; in 1. hand he holds out a cake,
but the object in r. hand is lost.
Ht. 4i in. From Orvieto. Presented by Canon Bracci, 1856. Left foot lost ; much
corroded.
693. Female Figure (Priestess ?). As the four preceding male figures ; she
looks to r., and holds out a cake in 1. hand and patera in r. ; she wears wreath,
long girt chiton, and himation round lower limbs caught up over 1. arm.
Ht. 4s in. From Orvieto. Presented by Canon Bracci, 1856. Cf. Gerhard, Gesammclte
Akad. Abhandl. i. pp. 317, 370, and pi. 36, fig. 3 ; he calls these figures Juno Regina ; see
also Notizie degli Scavi, 1895, p. 288, and Wieseler, op. cit. p. 35 ff.
694^ Half-Mask, cut off just above the upper lip and below the hair above the
forehead, so that the shape is that of an almond. The hair of the eyebrows is
LATE ETRUSCAN BRONZES. 115
indicated, and the pupils marked by incised circles ; at the outer corners of the
eyes are strongly marked crows'-feet.
Ht. 1 1 in. Length 2\ in. Probably a votive object. For similar masks, cf. Inghirami,
Mus. Chiusino, pi. 105, fig. 2, and Micali, Mon. hied. pi. 16, fig. 9.
6942. Half-Mask, similar, consisting merely of eyes and nose ; no eyebrows or
crows'-feet indicated. Below the nose is a lump of lead.
Length 4| in. Presented by Canon Bracci, 1856.
b. mirror3 and mirror-cases (695-740).
(1) 695-725. Incised Mirrors.
695. Bellerophon and Oinomaos. On the r. is Bellerophon to the front,
holding in r. hand by a loop the iriva^ tttvkt6<; of //. vi. 169, and turning to 1. to
look at his companion ; his 1. hand passes behind his back, and perhaps holds a
rein with which he leads Pegasos. He is beardless, with curly hair, petasos slung
round his neck, chlamys fastened with a brooch in front, sword hung by a belt
over r. shoulder, and endromides. The horse stands in the background to r., and
has recurved wings ; it is inscribed in Roman letters : ARIO.* Bellerophon is
similarly inscribed: MELERPANTA (cf. the Bellerophontes of Plaut. Bacch. iv.
7, 12). On the 1. is a bearded man seated to r., holding up 1. hand as if address-
ing Bellerophon ; he has curly hair, shoes, and himation over lower limbs, and
holds a sceptre in r. hand surmounted by a pomegranate, with a sash tied round
it. He is inscribed : OINOMAOS, Oinomaos ; this appears to be a confusion with
Oineus (see //. vi. 216, where a visit of Bellerophon to this hero is recorded).
From the presence of the tablets we should have expected here the name of
Proitos. At his feet are a goose and a grasshopper to 1. ; on the r. of
Bellerophon an owl and an olive-stem ; and behind Oinomaos a plant. In the
exergue is a figure of Scylla to the front, with fin-like wings, ending from the
waist in two fish-tails ; in either hand she holds the end of a laurel-wreath which
encircles the scene, meeting in a bunch of berries at the top ; on either side of
her is a dolphin diving downwards. On the reverse, at the lower part of the
mirror, is incised a figure of Helios to the front, wearing long girt chiton,
emerging in his four-horse chariot from the sea ; in the field, two stars and
two circles ; the ground is stippled. Below is a winged goddess to the front,
with recurved wings, drapery over arms, and shoes, holding a torch in r. hand
and an alabastron in 1. (cf. No. 623) ; above, a star and two rosettes. She may
represent either a Lasa or Eos.
Ht. n| in. Diam. 6? in. Montagu-Taylor Sale, 1897. Gerhard, Etr. Spiegel, iv. pi. 333,
p. 76 ; Mon. delP Inst. vi. pi. 29, fig. 1 ; Ann. 1859, p. 135 ; Bull, i860, p. 104; Arch. Zeit,
1859, Anz. p. 87* ; Ritschl, Mon. Prise. Lat. pi. xi. O, p. 16 ; C. I. L. i. 60. The handle
ends in a deer's head. The figure of Bellerophon may be compared with that oh a vase in
* The name Arion for Pegasos is attested by several passages (e.g. //. xxiii. 346 ; Paus. viii. 25, 7 ;
see also Milchhoefer, Anfange tier Kunst} p. 59).
I 2
I 1 6 CATALOGUE OF BRONZES.
Dubois-Maisonneuve, Introd. pi. 69. The introduction of Oinomaos here recalls the mention
of Pelops and his winged horses in Paus. v. 17, 7 (see also Milchhoefer, Anf tinge der Kunst,
p. 58, note).
696. Birth of Athene. In the centre is Zeus seated in a chair to the front,
turning to his 1., with r. hand on knee and 1. arm resting on the arm of the chair ;
he is bearded and has long richly-curling hair, himation over lower limbs, and
sandals. From his head springs a diminutive figure of Athene, with face to
front, with helmet, long girt chiton, shield on 1. arm and spear brandished in r.
The chair is raised on a plinth with ornamental feet. These two figures are
inscribed : rt.l/li-r", Tinia, and A<\Q\A^\AA, Menrfa. On either side of Zeus is a
female deity supporting him ; they have curly hair and wear long chitons, that
of the one on the 1. girt up into a koXttos at the waist, the other's leaves the 1.
shoulder bare. They are inscribed respectively: AWVAO, TJnlna, and IHV, Uni\
it is probable that one of them represents Hera, and the other Artemis. Both
Juno and Diana were regarded as goddesses of child-birth by the Romans. On
the 1. sits a youthful god with curly hair, helmet, drapery over his thighs,
endromides with tops turned over, sword with belt over r. shoulder, and spear in
1. hand ; he is inscribed HAfjA^, Laran ; the type corresponds to Ares (see
Roscher, s. v. Laran). On the r. is a bearded deity, with r. foot raised on a
rock, r. hand holding a spear or sceptre, 1. on r. knee ; he has thick curly hair,
and is attired as the other. He is inscribed : A+8\l + C\Qk\AA, Maristiusta, and
may be meant for Poseidon. In the background is a tetrastyle Ionic temple ;
the ground is punctured all over, and round the design is a wreath with a ribbon
twisted round it, tied in four places. On the handle, floral patterns.
Diam. d\ in. Ht. I2f in. 1856. Gerhard, Etr. Spiegel, iv. pi. 284, 2, p. 13 ; Schneider,
Gcburt d. Athena, p. 15, No. 3 ; Corssen, Sprache der htrusker, i. p. 252 ; Fabretti, C. I. Ital.
i\1\ bis. The handle terminates in a roe's head, and is somewhat corroded ; the mirror is in
good condition otherwise.
697. Zeus embracing Semele. In the centre is Zeus to 1., placing his r. arm
round Semele ; he is bearded, and wears a wreath of flowers, necklace with bullae,
shoes, and drapery falling behind him, with weights attached to the folds ; in his
1. hand is a large thunderbolt. Semele is winged, and her hair is gathered up
in a double sphendone ; she wears earrings, necklace, bracelets in the form of
snakes, drapery falling behind her, and shoes ; she places her r. hand on Zeus's
breast. On the r. is a youthful Satyr to r., holding a flute in each hand ; behind
Zeus is a large flower.
Diam. 6| in. Payne Knight Coll. Gerhard, Etr. Spiegel, i. pi. 81, fig. 2, iii. p. 83 ;
Inghirami, Mon. Etr. ii. pi. 17 ; Muller-Wieseler, Dcnkm. d. alt. Kunst, ii. 3, 46 ; Orioli,
Antologia di Eirenze, No. 90, p. 7 ; Rathgeber, Nike, p. 280 ; Arch. Zeit. 1846, p. 223 ; 1853,
p. 81. Handle lost. Round the design, a vine- wreath. Late style, rather careless.
698. Return of Persephone from Hades. In the centre are two female figures
embracing, with arms round each other's necks ; they wear ampykes embroidered
with stars, earrings, bracelets, himatia, and shoes ; the one on the r. has r. breast
exposed. They are inscribed respectively : arldO, Thanr, and VHUd, A{pnu ;
LATE ETRUSCAN BRONZES. I I 7
representing Demeter and Persephone, on the analogy of a mirror in Berlin
(Gerhard, Etr. Spiegel, iv. pi. 324, p. 62). On either side is a female figure,
seated on rocky ground, similarly attired; the one on the r. inscribed drill*,
Sipna, holds up a mirror in r. hand ; the other, inscribed AY\A\AO, Thalana, an
egg or fruit. Round the design, an ivy-wreath, springing from a palmette.
Length iof in. Ht. 6£ in. 1867. Gerhard, Etr. Spiegel, iv. pi. 324 A ; Arch. Zeit. 1864,
Anzeiger, p. 299*. Late style. On the back, a palmette incised.
699. Lasa, Aphrodite, and Boy. On the 1. is a winged Lasa seated to r. on
an altar, on which is a small stele, holding up a flower in 1. hand, in r. a fruit ;
her hair is tied in a tuft at the back, and she wears earrings, necklace, armlet on
1. arm, and shoes ; beneath her is drapery. Before her stands Aphrodite, a
similar figure, but unwinged (armlet on r. arm, no drapery or earrings), holding
a spear in 1. hand, the r. placed against the 1. thigh of Lasa. On the r. a boy,
perhaps Aeneas, moves away, looking back, as if startled ; he wears a conical
cap and shoes, and his 1. hand is raised.
Length 13! in. Diam. "j\ in. Towneley Coll. (print in Brit. Mus.). Gerhard, Etr. Spiegel,
iii. pi. 251, p. 254 ; Vaux, Handbook to Brit. Mus. p. 422. Part of right side broken away, and
otherwise damaged a little. Round the design, laurel-wreath ; below, egg-pattern and laurel ;
at the back, palmette and flowers. The handle ends in a roe's head. Careful drawing.
700. Group of Etruscan Deities. In the centre stands Alpnu, looking down
to 1., with fillet wound round her head, necklace, bracelets, and himation
over lower limbs ; behind her head is inscribed VrPWd. She places 1. hand on
her hip, and her r. hangs by her side. Facing her is a man, whose head and
chest are obliterated ; he stands with 1. foot raised on a rock, with drapery over
1. thigh, and offers some object in both hands to Alpnu. Above him is inscribed
3«I3...MV/, him . ele (?). On the 1. sits Turms (Hermes), with petasos, chlamys,
and winged shoes ; in 1. hand he holds up his caduceus ; he is inscribed St/Ma VT.
Corresponding with him is Aplu (Apollo), on the r. with r. foot raised on a
rock, wearing a wreath, and chlamys on 1. arm; he is inscribed VN1d ; before
him is a star. In an exergue above is seen the radiated head of Helios to the
front between those of the horses of his quadriga ; in the lower exergue, a floral
pattern.
Length u| in. Diam. 7^ in. From Castelgiorgio near Bolsena. Castellani, 1873.
Bull. deW Inst. 1865, p. 168 ; De Witte, Castellani Sale Cat. (1866), p. 74, No. 341 ; Gerhard-
Korte, Etr. Spiegel, v. pi. 34, p. 43 ; Corssen, Sprache der Etrusker, i. p. 1006 ; Fabretti, 2094
bis B ( = Suppl. iii. No. 311) ; Deecke, Etr. Eorschungen, iv. p. 63 ; Bugge in Deecke's Etr.
Forsch. u. Stud. iv. p. 15 ff. Broken intentionally with a chisel in several places ; the shading
indicated by fine hatched lines on the nude forms. Alpnu occurs on other mirrors (No. 698
and Gerhard, iv. 322-324 and 381) ; she is a combination of Aphrodite and Persephone. The
subject has also been interpreted as the meeting of Menelaos (. . . ele) and Helen {Alpnu).
701. Winged Lasa. She stands to the front, holding an elaborate tendril in
either hand ; her hair is tied in a bow on the top of her head, and she wears
two pairs of armlets, shoes, and long girt chiton decorated with various
Il8 CATALOGUE OF BRONZES.
patterns ; her wings arc spread, and on either side of her head is a four-point
star.
Length iif in. Diam. 61- in. Payne Knight Coll. 46**. Round the design, laurel-wreath ;
at the back, above the handle, a plant. The back of the handle is moulded like a column with
scolloped cap. Late careless style.
702. Two winged Lasas. They stand facing one another, and the one on the
r. holds an egg or fruit in 1. hand ; she wears an ampyx, earrings, necklace, long
chiton, himation over lower limbs, and laced-up shoes ; the other wears an
cpisthoiphendcnc, necklace, long chiton with borders of network and other
patterns, himation muffling her arms, and laced-up shoes with turned-up toes.
On their inner wings eyes are incised ; the one on the 1. has an ox-skull on her
breast. In the field, three flowers ; in the exergue, a palmette.
Length 13! in. Diam. "]\ in. Towneley Coll. (print in Brit. Mu3.). Gori, Mus. Etr. i.
91 ; Inghirami, Mon. Etr. ii. pi. 58 ; Gerhard, Etr. Spiegel, i. pi. 43, figs. 3, 2, 4, iii. p. 30 (figs.
2 and 4 being reproduced from Gori and inghirami respectively). Design coarse. Handle in
form of a deer's head ; at the back acanthus-leaves are incised.
703. Three Cabeiri (?) and Woman. In the centre is one of the Cabeiri (?) to the
front, beardless, with drapery twisted up between his legs, and shoes, 1. hand
behind his back ; behind him on the r. is seen the upper part of a woman
looking to 1., wearing conical cap and girt chiton. On either side a Cabeiros (?) is
seated facing the scene, with the further foot on raised ground, with conical cap,
shoes, and drapery under him ; the one on the 1. places r. hand on the breast of
the first figure, and the other rests his 1. arm on his r. knee, and chin on r. hand.
Round the design, a wreath.
Length ioi in. Diam. 6} in. Vaux, Handbook to Brit. Mus. p. 421. Apparently omitted
by Gerhard from his list of Cabiric representations on mirrors {Etr. Spiegel, iii. 262-268),
though he gives several that are almost identical. The drawing is of questionable antiquity.
704. Heracles in Olympos. On the r. is Heracles seated to 1., holding his club
with both hands between his knees ; he is bearded, and under him is the lion's
skin ; he is inscribed 3 J DO 3 B, Hercle. In the centre is Athene to the front,
leaning on 1. elbow and extending r. hand to Heracles ; she has curly hair,
radiated stepJiauZ, bracelets, long chiton and himation, and spear in r. arm ; she
is inscribed A^an^l/li/I, Menrfa. On the 1. is Aphrodite to L, holding a fruit in 1.
hand and placing r. on the shoulder of Apollo, who is seated facing her on the
extreme 1.; they are inscribed respectively: Hdav-f, Turan, and VMA, Aplu.
Aphrodite has richly-cuiling hair and wears a twisted tore and a veil over the
back of her head ; Apollo has similar hair, endromides, and drapery under him
falling over his 1. thigh. In the background part of a building is visible, with
two Ionic columns.
Length tl| in. Diam. 5f in. From Cervetri. Castellani, 1S65. Gerhard, Etr. Spiegel,
iv. pi. 347 A. Round the design an elaborate wreath of flowers The handle ends in the head
of a roe.
705. Head of Heracles. The head of the youthful Heracles, the face nearly
in full view, with close-curling hair, and lion's skin tied round the neck ; the jaws
LATE ETRUSCAN BRONZES. I 1 9
of the lion arc rudely indicated over the 1. shoulder ; in the background behind
the head is his club, grasped in r. hand. Round the design, wave- pattern
springing on either side from a palmette in the exergue. On the back of the
handle is engraved a dove to 1. with wings spread.
Length 12} in. Diam. 6-5- in. From Palestrina. Castellani, 1865. Gerhard, Etr. Spiegel,
iv. pi. 335, fig. 1, p. 79 ; Bull. deWlnst. 1862, p. 50 ; Arch. Zeit. 1862, Anseiger, p. 291*. The
head is drawn with much boldness, and on a larger scale than usual.
Theseus slaying Antiope. On the 1. is Theseus kneeling to r., holding
Antiope by the hair with 1. hand, while with the other he is about to plunge his
sword into her ; he is beardless, and wears a Phrygian cap, short chiton, cuirass
and greaves. Antiope is fallen on 1. knee to 1., with r. leg extended, looking
back, and seizes Theseus' 1. arm with r. hand ; she wears a necklace, cross-belts
over shoulders, short chiton held up by a belt round the waist, and anklets.
On her 1. arm is her pzlta ornamented with floral scrolls, and below her, a flower
rising from the ground ; in the background, a Doric column.
Diam. &} in. Payne Knight Coll. 82*. Gerhard, Etr. Spiegel, iv. pi. 366, p. 118.
Round the design, laurel-wreath with a flower in the middle ; in the exergue, a flower ; at the
back, a palmette. Handle lost.
Eos and Kephalos (?). On the 1. is Eos to the front, looking at Kephalos,
and holding out a wreath to him in either hand ; she wears long chiton and
himation round lower limbs, and her wings are spread ; behind her head is a
large radiated crown, and on the 1. is inscribed JI~lV, Usil. Kephalos stands
to the front, looking round at her ; he is beardless, with drapery over 1. arm and
a branch in r. hand. He is inscribed VTDIVam, Uprium, which has been inter-
preted as Hyperion.
Length 9- in. Diam. 6f in. Vulci, 1847. Gerhard, Etr. Spiegel, iv. pi. 364, p. 116;
Bull. delP Inst. 1847, p. 117 ; Corssen, bprache der Etrusker, i. p. 821 ; Fabretti, C. I. Hal.
2142. Round the design, an ivy-wreath. Poor style and execution ; the figures of very bulky
proportions, that of the youth suggesting an athlete. Possibly the subject may be interpreted
as Victory crowning an athlete.
The Dioscuri, Athene, and. a Trojan Woman (?). In the centre are the
two female figures to the front ; Athene on the 1. has thick curly hair, radiated
stephanc, long chiton with apoptygma, and aegis ; her 1. hand is placed on her hip.
The other looks to 1. ; she wears a spotted Phrygian cap, and long chiton with
apoptygma. On the 1. is one of the Dioscuri leaning forward, with 1. foot raised
on a rock, and gesticulating with r. hand ; he wears endromides, and a chlamys
is wrapped round his 1. arm ; the muscles of his body are indicated by punctured
lines. The other stands in a similar attitude on the r. ; he is similarly attired,
with sword slung at r. side, and wears a fillet. In the background is seen part
of a building (?).
Length \\\ in. Diam. 5! in. Comarmond Coll., 185 1. Gerhard, Etr. Spiegel, iii. pi. 275,
%• 5> P- 3J3- Round the design, laurel-wreath ; at the back, above the handle, a plant incised ;
the handle ends in a roe's head. Poor stylec
120 CATALOGUE OF BRONZES.
709. The Dioscuri and two Women. On either side of the scene is one of
the Dioscuri bending forward ; they have curly hair and wear conical caps,
short girt bordered chitons, and endromides ; round the helmet of the one on
the 1. is a myrtle wreath. Between them are two female figures, the one on
the 1. looking to 1., the other to r. The first has hair knotted up, necklace, cross-
belt, and drapery round r. leg ; the other has thick curls, and long girt chiton
with apoptygma. In the background is seen part of an Ionic building with a
scolloped pattern over the architrave.
Diam. 5 in. Cf. Gerhard, Etr. Spiegel, iii. pi. 278, 1 and p. 319. Handle broken off.
Round the design, a wreath tied in four places. The back of the mirror has a fine polish.
710. The Dioscuri. They sit facing one another, as if conversing, their further
feet raised on rocks ; each has a spear in the further hand, and the nearer one
rests on his shield ; they are nude and beardless. In the field on the 1. is a
window {?), such as often occurs on the vases of Magna Graecia ; on the r. a
sinuous plant ending in a bud.
Length Z\ in. Diam. 6| in. Blacas Coll., 1867. Round the design, laurel-wreath ; in
the exergue, a palmette. Poor style and late.
711. The Dioscuri. They stand facing one another, each with the further leg
raised and the nearer hand resting on a shield ; they are nude and beardless,
and the one on the r. has a spear in r. hand. Round the design, an olive-
wreath.
The handle is formed by the figure of a youth with long hair and chlamys
over 1. shoulder held up in 1. hand, r. hand raised to his head, r. leg slightly bent ;
this figure, though ancient, does not belong to the mirror.
Diam. t\ in. Ht. of figure 6 in. Towneley Coll. (print in Brit. Mus., Department of
Greek and Roman Antiquities). Gerhard, Etr. Spiegel, i. pi. 49, fig. 1, iii. p. 42 ; Vaux, Handbook
to Brit. Mus. p. 422. Late style, very coarse. The design is identical with No. 710, and
possibly a copy of it. The antiquity of the drawing is doubtful, though the mirror itself is
ancient.
712. Betrothal of Menelaos and Helen. In the centre are Menelaos and Helen
embracing ; Menelaos wears a helmet with frontal ridge and cheek-pieces,
cuirass, short chiton, and shoes. His r. hand rests on his shield, which stands
on the ground, and has a scolloped pattern on the centre ; with 1. he embraces
Helen. She turns towards him and places r. hand behind his head ; she wears
a double sphendonh, earrings, necklace with bulla, armlets, shoes, and himation
round lower limbs, which she holds up with 1. hand. On either side is one of
the Dioscuri, standing with one leg bent, resting one hand on his shield ; the
one on the r. is partly obliterated. They wear helmets with frontal ridges,
chlamydes fastened with brooches in front, and shoes, and each holds a spear
in one hand. Above the figures arc two stars and two rosettes ; the one on
the 1. wears a short chiton and cuirass, and above the other is the edcre of a
LATE ETRUSCAN BRONZES. 121
cloud indicated. In the exergue, below a band of chevrons, is a pattern of
palmettes and volutes, and the same at the back.
Diam. 6£ in. Ht. 10^ in. Towneley Coll. Gori, Mm. Etr. i. 127 ; Inghirami, Mon. Etr.
ii. 64; id. Gall. Omer. iii. 20; Gerhard, Etr. Spiegel, ii. pi. 201, iii. p. 194 ; Arch. Zeit. 1846,
p. 223.
713. Paris and other figures. In the centre stands a nude youth to the front,
with arms round the waists of two women standing to the front on either side of
him ; he wears a kidaris, chlamys fastened with a brooch in front, and shoes.
Above him is inscribed : <Hd, Alch\sentre, i.e. Alexandros. The woman on the
1. looks towards him, and places r. hand on her head ; she wears a cap fastened
with long strings (?), and long chiton. She is inscribed A^al/M\, Panrpa, or
possibly Manrfa {Menerfa). The other wears a sort of turban and a long
chiton. On either side, facing the scene, is seated a youth wearing chlamys
over 1. shoulder, and shoes ; the one on the 1. holds up a wreath in 1. hand, and
is inscribed SAffJA, Archas ; the other holds out a helmet (?) in r. hand.
Length \o\ in. Diam. 5| in. 1849. Formerly in Pizzati Coll. Gerhard, Etr. Spiegel,
iii. pi. 260, fig. I, p. 280; id. Metallspiegcl [Ges. Akad. Abhandl. ii.), pi. 72, fig. 3, p. 23s ;
Arch. Zeit. 187 1, p. 102. Round the design, a band of quatrefoils. The handle ends in the
head of a roe (?). The design is very much worn and corroded.
714. Clytaemnestra and three Heroes. In the centre is Odysseus to the front,
adjusting his sword-belt with r. hand and holding two spears in 1. ; he is beard-
less, with curly hair, and wears a conical cap, endromides with tops turned over,
and sword at side ; down each leg are two rows of punctured dots. Above him
is inscribed 3+iOV, Uthste. On the r. Menelaos is seated on a folding-stool, with
r. hand raised to mouth ; he is beardless and wears a Phrygian cap and himation
over lower limbs, caught up at back and falling on 1. shoulder. Above him is
inscribed 3«JH3rt1, Menle. On the 1. Clytaemnestra to 1. addresses Palamedes,
who is seated in a reflective attitude to r., and places r. hand on his 1. shoulder ;
she has thickly-curling hair knotted up behind, long girt chiton with koXttos, and
himation over 1. shoulder embroidered with stars. Palamedes is beardless and
wears a Phrygian cap and himation embroidered with stars over lower limbs.
Above them is inscribed respectively: A+8H11VJ), Clutmsta; and 30IH/W/4-J*,
Talmithe. In the background is a building of which three Ionic columns and a
pediment are visible. Round the design, a wreath tied in four places.
Ht. 11 in. Diam. 5J in. From Cervetri. Castellani, 1865. Gerhard, Etr. Spiegel, iv.
pi. 385, p. 33 ; Arch. Zeit. 1864, Anzeiger, p. 287* ; Roscher, Lexikon, ii. p. 1234 (s.v.
Klytemnestra) ; Bull, dell' Inst. 1865, p. 243 ; Fabretti, C. 1. Ital. 2346 bis c. The handle ends
in a roe's head and is richly decorated with leaves. The mirror is in perfect condition, but the
execution is poor and careless. Gerhard regards the scene as representing Clytaemnestra at
Aulis asking the aid of Palamedes to avert the sacrifice of Iphigeneia.
715. Combat of Ajax and Hector. On the 1. is Ajax, with r. leg bent under
him, holding his shield up with 1. arm through the ochanon and porpax ; in r.
hand he holds a stone, which he is about to hurl at Hector, who advances
towards him on 1. foot, with r. leg bent, drawn sword in r. hand. The two
122 CATALOGUE OF BRONZES.
heroes are bearded and similarly attired ; they wear crested helmets with cheek-
pieces turned up, cuirasses with flaps below, short chitons, and greaves ; on
Hector's shield is incised a Gorgoneion surrounded by snakes. They are
inscribed respectively : iADlA, A if as ; and aV+DB, Ectur. In the field are three
stones. Round the design, an ivy-wreath. For this scene, cf. //. vii. 268 ff.
Length 7} in. Diam. 6^ in. Vulci, 1847. Gerhard, Etr. Spiegel, iv. pi. 392, p. 40 ; Bull.
delV Inst. 1847, p. 139; Arch. Zeit. 1848, p. 332 ; Fabretti, C. I. Ital. 2148 bis. The mirror
is dinted in from behind and partly cracked.
716. Combat of two Warriors (Menelaos and Helenos?). The one on the 1.
advances on r. foot, with drawn sword in r. hand, and shield held up in 1.
(ochanon and porpax shown) ; he is beardless, and wears crested helmet with
cheek-pieces turned up, cuirass, chlamys fastened in front, and shoes. The
other is fallen on his back before him, and holds up r. hand in supplication ; he
is beardless, and wears helmet with cheek-pieces turned up, chlamys fastened in
front, and shoes. Ke is inscribed N13, Eln, perhaps meant for Helenos.
Diam. 6| in. Campanari, 1847. Gerhard, Etr. Spiegel, iv. pi. 391, fig. 2, p. 39 ; Arch.
Zeit. 1847, p. 187 ; Fabretti, C. I. Ital. 2534. Handle broken ; has been attached with rivets.
Round the design an ivy-wreath. The drawing is very careless and the lines coarse ; the whole
has a suspiciously modern appearance.
717. Two Warriors and two Amazons. In the centre is a bearded warrior
seated to 1., with face turned to r. ; he wears a pilos, round which is a wreath,
short chiton, and endromides, and his r. hand is placed on his cheek. On the r.
is seated a beardless warrior, with arms crossed, wearing a helmet decorated with
a star, garment over thighs, and endromides. On the 1. is an Amazon wearing
Phrygian cap, armlet, and vaguely-rendered drapery, with r. hand raised as if to
check (?) another Amazon, who raises a double-headed axe aloft in both hands
behind her head, as if to attack the two warriors ; the latter has thickly-curling
hair and drapery ornamented with stars on r. arm ; her face wears an angry
expression. On the border above is inscribed : IHI/lH/ll d<iiMdJlxe.N (?).
Length \o\ in. Diam. 5 in. 1857. Formerly in lanze" Coll. Gerhard, Etr. Spiegel, iv.
pi. 360, p. 113; Corssen, Sprache der Etrusker, i. p. 368. Round the design, a wreath tied in
four places ; a similar pattern on the handle, which ends in the head of a deer. Good patina,
blue and yellow ; the right side rather corroded.
718. Two Warriors. They stand confronted, and are both beardless, with
crested helmets, cuirasses, and short chitons ; the one on the 1. wears shoes, and
holds a sword in r. hand, 1. extended ; at his r. side is the sheath. The other
has a spear in r. band, and a shield ornamented with a rosette pattern on 1.
arm ; a small dog fawns on him to r.
Diam. 6;^ in. Bequeathed by Sir W Temple, 1856. Gerhard, Etr. Spiegel, iii. pi. 253A,
fig. 1, p. 264. Handle broken off. Gerhard calls these warriors the Dioscuri.
719. Hero arming. In the centre stands a beardless warrior to the front,
fastening on his sword by a belt over r. shoulder ; he wears a cuirass ornamented
with various patterns, shoit chiton, chlamys fastened with a brooch in front, and
LATE ETRUSCAN BRONZES. I 23
greaves ; on the 1. is his shield. On the 1. is a woman fastening his cuirass ; her
hair is knotted up, and she wears earrings, necklace, armlets, sandals, and drapery
over 1. arm and round legs. The hero is inscribed /^I^X, Aiax; the female figure
TEVI$, Telis, which according to Varro (de re rust. iii. 9, 19) is the old Latin form
of Thetis. On the r. is a woman to the front, looking round to r., and playing
the lyre with a plectrum ; her hair is gathered in a mass behind, and she wears a
twisted coif, earrings, necklace, bracelets, and long chiton with apoptygma. She
is inscribed ft\VCVMENA, Alcumciia. On the extreme r. is a Seilenos squatting to
the front, with 1. leg bent under him and shown in foreshortening ; he wears a
fillet tied in a knot over the forehead, with a bow over each ear, and drinks
from a phiale held in r. hand.
Length r2 in. Diam. 6j in. From Palestrina. Castellani, 1873. Gerhard - Korte,
Etr. Spiegel, v. pi. 120, p. 156 ; Mon. dell' Inst. ix. pi. 24. fig. 5 ; Ann. 1870, p. 350 ; Fabrctti,
Suppl. i. 477 ; Garrucci, Sylloge, No. 531. The handle ends in an animal's head. Round the
design a laurel-wreath with a flower in the middle, each end of which is held by a Siren to the
front in the exergue, with wings spread out and short girt chiton. Late style. As regards the
collocation of these four mythological figures, it would seem that the artist has simply taken
certain types from his repertory and combined them at haphazard.
720. Sacrifice of a Bull. A woman moves to 1., brandishing in both hands an
axe, with which she is about to strike the neck of the bull, which moves to r. on
the further side of her, with head down and tail erect. She is attired as
Artemis, with short girt chiton, cross-belts, bracelets, and endromides, and her
hair is tied in a tuft at the back. On the r. is seen the lower part (from the
thighs) of a nude youth ; the upper part is destroyed by rust. Over the back
of the bull is a dolphin to r, and above, an eagle flying to 1., with a sash in its
claws. On the 1. is a large plant with flowers ; the design is encircled by a
laurel-wreath. In the exergue is a female head turned slightly to r., with hair
parted and falling in tresses on either side.
Ht. I2|in. Diam. 6f in. 1856. Durand Coll. (Cat. 1948). Sotheby's Sale Cat. 17 June,
1856, Lot 122 ; Gerhard, Etr. Spiegel, i. pi. 91, iii. p. 96 ; Panofka, /isklepios, pi. 7, fig. 2,
p. 336. Gerhard calls attention to the story of Valeria Luperca (Plutarch, Parallel. Min. 35)
which has several points of similarity with this representation.
721. Toilet-Scene. On the 1. is a woman in a himation and shoes seated in
a chair, holding up an alabastron (?) in both hands ; before her is a nude youth
holding up a mirror to her. Round the design, an ivy-wreath.
Length 10J in. Diam. 5^ in. Blacas Coll., 1867. In the exergue, as also on the back,
a palmette. Very late and coarse.
722. Toilet of three Women. In the centre is a nude woman to r., with 1. foot
drawn back ; she wears shoes and a breast-band with various pendant
ornaments ; she is about to plait her hair, which is drawn forward over her
face. Facing her is a similar figure with hair fastened up on the neck and
a garment over 1. shoulder, holding out both hands towards her ; she may
represent Helen. On the 1. is a third seated to r. on a stool, about to arrange
her hair with an acus discriminalis held in 1. hand ; she wears a breast-band
124 CATALOGUE OF BRONZES.
as before, and embroidered himation over lower limbs. On the r. is a youth
(Paris ?) with 1. foot drawn back, embracing the second figure ; he wears a
Phrygian cap, shoes, and embroidered chlamys fastened with a brooch in front,
and under his 1. arm is a sheathed sword. In the background is part of a
building, vaguely indicated, with a scolloped pattern above. The ground
of the design is punctured all over ; round it is a wreath of leaves bound round
in four places. On the back of the mirror is inscribed in large letters : rtWOVM,
Suthma.
Diam. 4| in. From Chiusi. Castellani, 1873. Gerhard- Korte, Etr. Spiegel, v. pi. 102,
fig. 2, p. 132 j Corssen, Sprache der Etrusker, i. p. 1007. The composition may be derived
from some Judgment of Paris scene, such as Overbeck, Her. Bildw. pi. 10, fig. 2.
723. Women Bathing. In the background is a laver on a plinth, into which
water pours from a spout in the form of a lion's head ; before the laver is a
nude woman crouching down to r. (in the Venus accroiipie attitude), plaiting up
her hair. A second nude woman stands on the 1., leaning with 1. elbow on the
laver, with hair tied behind, earrings, necklace, and bracelets, holding out a dove
in r. hand ; while on the r. a third stands to the front, with hair tied in a bow
on the head, necklace, and bracelets, 1. hand by side, holding out r. hand to
catch the water falling from the spout. On the extreme r. is a diminutive
figure of a youthful Satyr to 1., ithyphallic, with r. hand raised, holding up a
sash ; his legs are carelessly drawn, the 1. in two positions. Below the design is
a winged female figure to the front, in long girt chiton and shoes, holding in
either hand the end of a laurel-branch which encircles the design, meeting
above in a disc marked with a cross.
Diam. 6jj- in. Ht. \i\ in. Towneley Coll. ; formerly in the Museo Ansidei at Perugia.
Inghirami, Mon. Etr. 11. 28 ; Gerhard, Etr. Spiegel, pi. 108, iii. p. 106 ; Vaux, Handbook to
Brit. Mus. p. 421 ; Bernoulli, Aphrodite, p. 317, No. 25. In the Brit. Mus., a print from the
Towneley Coll., from which Gerhard's drawing is taken. Careless drawing. The handle ends
in the head of a fawn ; round the edge, egg-moulding. On the back is the face of Helios
within a flower of eight petals.
724. Youth and Girl. On the 1. is a youth turning to r. to look down at a
seated girl who holds both hands up to him, in the 1. a phiale ; he has drapery
over his 1. arm, held up with r. hand on r. hip, and his 1. hand leans on a tall
staff. The girl is seated on a four-legged stool and wears a close cap and long-
sleeved chiton. In the field are numerous small circles ; between the figures is
inscribed : ^aiMnIV05V>I l^i^^ori, Mithamsfikisphulnial (?). Perhaps Circe offering
the cup to Odysseus (?).
Length 8 in. Diam. 6 in. Fejervary-Pulsky Coll., 1868 {Cat. 48). Gerhard, Etr. Spiegel,
iv. pi. 417, p. 77. Round the design, two twisted stems from which spring alternate ivy-leaves
and berries ; in the exergue, four quatrefoils (each of four circles) ; at the back, a palmette.
725. Mirror with Etruscan Inscription. On the back is inscribed: dl^ivi
*A03vMAa, Ramethas Pupcna.
Diam. 6 in. Campanari, 1837. Gerhard, Etr. Spiegel, i. p. 85 ; Fabrctti, C. I. Hal. 2592.
Surface in bad condition ; handle lost.
LATE ETRUSCAN BRONZES. 1 25
(2) 726-740. Mirror-cases and Stands.
726. Mirror-Case. On the cover is a large medallion representing Ganymede
carried off by the eagle. In the centre the eagle is seen, to the front, with
wings spread, placing its claws on each side of Ganymede, and raising him from
the ground ; its head is turned to r. Ganymede is also to the front, with hands
extended, looking up to 1. at the eagle ; he has curly hair, and wears a necklace,
cross-bands of incised pendants over chest, and endromides ; his chlamys floats
behind his legs, held up by the claws of the eagle. On either side of him,
below, is one of his youthful companions starting away in surprise ; the one
on the 1. raises 1. hand, drawing his chlamys over his shoulder from behind ; he
wears a necklace and endromides, and holds a pedum in r. hand. The other is
fallen on 1. knee, looking upwards ; he is attired as the first one, and his r. hand
is occupied as the other's 1. The second of the two is of younger appearance
than the first ; they may be Ilos and Assaracos, brothers of Ganymede. On
the r. is a woman to the front, looking up to 1., with r. hand pointing to the
eagle's wing, and 1. holding up her himation, which is twisted round r. lee •
she has long hair and wears a necklace, bracelets, and anklet on 1. leg. She
may be Callirrhoe, the mother of Ganymede.
Diam. 6 in. From Palestrina. Castellani, 1884 (Sale Cat. 432, with plate). Mon. deW
hist. viii. pi. 47, fig. 2, Ann. 1867, p. 338 ; Overbeck, Kunstmythol. {Zeus), p. 528. Compare
the Vatican group, Overbeck, Gesch. d. Gr. Plastikk, ii. p 94, which is probably a copy cf the
original by Leochares ; see also Winter in Jahrbuch, vii. (1892), p. 175 ; for the subject
generally, Jahn, Arch. Beitr. p. 12 ff., and Roscher, Lexikon, s.v. The composition is not
united, but made up of figures copied from other works of art ; the two youthful figures intro-
duced to express astonishment recall certain of the figures of Niobides, and in a measure the
two sons of Laocoon.
727. Mirror- Case. On the cover is a relief representing Aphrodite and
Anchises : On the 1. is Aphrodite seated to 1., turning round to look at
Anchises, who is also seated to 1. at a lower level ; her 1. hand is placed on his 1.
shoulder, and in r. she holds up her drapery behind her. She wears a
shoulder-belt and a himation twisted round her r. thigh ; Anchises is beardless,
and wears a himation ; his r. hand is extended towards Aphrodite, and in 1. he
holds a staff.
Diam. 5J in. From Cervetri. Castellani, 1865. Bernoulli, Aphrodite, pp. 107, 199, 349.
Cf. the Paramythia relief {Spec. Ant. Sculpt, ii. pi. 20), a cast cf which is catalogued as No. 287.
Round the design, herring-bone pattern. Part of handle remaining.
728. Mirror-Case. On the cover is a relief of Thetis riding to I. on a Hippo-
camp, with face turned to the front, holding in 1. hand the shield of Achilles,
while her r. arm is placed round the neck of the Hippocamp. She wears a long
girt chiton, himation, and shoes ; the Hippocamp has pectoral fins in place of
fore-legs, and its tail is raised on the r. of the scene.
Diam. 4J in. From Toscanella. Round the design, herring-bone pattern. For a similar
example, see Mon. delP Inst. xi. pi. 8, fig. 2 (Heydemann, Nereiden mit Waffen, note 43, No. 16*).
126 CATALOGUE OF BRONZES.
729. Mirror- Case. On the cover, in a medallion with border of egg-pattern,
Paris attacked by Deiphobos at the altar of Zeus: In the centre is Paris,
to the front, kneeling with 1. knee on the altar, and turning round to look at
Deiphobos, who advances towards 1. from behind him. Paris is beardless, and
wears a chlamys on 1. arm ; in r. hand he holds a short sword, and in 1. a large
palm-branch. The altar has wreaths wound round it. Deiphobos is beardless,
and wears a helmet and short chiton leaving r. shoulder bare ; in his r. hand is a
sword, and on 1. arm a shield. On the r. is Cassandra to r., turning round to
look at the scene, and brandishing a double-headed axe, with which she is about
to strike at Paris ; her hair is dishevelled, and she wears a himation twisted
round her body and 1. arm, leaving r. arm and leg exposed. The ground below
is punctured.
Diam. 5 in. From Vulci. Campanari, 1847. Arch. Zeit. 18+7, p. 1S6 (gives Toscanella
as provenance). Very similar to Gerhard, Etr. Spiegel, i. pi. 21, fig. 1, and see ibid. i. p. 86,
iii. p. 232. Somewhat injured ; handles lost.
730. Cover of Mirror- Case. Paris attacked by Deiphobos, as on the last
example : Paris is as before ; the altar has a cornice with two rows of egg-
moulding. Deiphobos is bearded, and wears a helmet with apex like that of a
Phrygian cap with frontal ridge of metal, cuirass, short chiton, and chlamys ; on
his shield is a Gorgoneion in relief, surrounded by wave-pattern. The figure of
Cassandra is omitted ; the ground below them is punctured, and on it are two
rosettes in relief, to which the handle was attached.
Diam. 5f in. From Toscanella. Campanari, 184.7. Arch. Zeit. 1847, p. 187. Rim
slightly injured. Round the design, a wreath tied in two places, and egg-pattern. Compare a
fragment of a Calenian phiale in the Brit. Mus. {Vase Cat. iv. G 129).
731. Mirror-Case. On the cover is a medallion with relief representing the
meeting of Odysseus and Penelope : On the 1. is Odysseus with 1. foot raised
on a rock and r. hand raised, gesticulating at Penelope, who stands confronting
him. Odysseus is bearded, and wears a conical cap and exomis over 1. shoulder
girt round waist ; in his 1. hand is a knotted staff, and on 1. ankle he wears a ring
or bandage, denoting a beggar with an injured foot, probably the Xafnrdhiov of
Aristoph. Ach. 1 1 77. Penelope stands in a thoughtful attitude, looking down
at him, with 1. hand raised and r. foot crossed over 1. ; she wears a twisted tore,
bracelets, and long girt chiton with apeptygma. Between them is the dog Argus
seated to 1., looking up at Odysseus and touching his 1. leg with r. paw ; behind
Penelope hangs drapery. Above is an ox-skuli, over which hangs a chaplet,
and below it is a Gorgoneion ; below the figures is a flower, on either side of
which is a small lion's head, in which the handle has been fixed. The rocky
ground on which the figures stand is stippled.
Diam. 6 in. From Cervetri. Castcllani, 1865. Man. deW Inst. viii. pi. 47, fig. 1, and
Annali, 1867, p. 326; Bull. dclP Inst. 1865, p. 246. The p.issage of the Odyssey alluded to
appears to be xix. 96 ff. The cover is much injured and in bad condition, but the design is
complete, and has a good patina. Round the design, a wreath.
LATE ETRUSCAN BRONZES. \2J
732 Mirror- Case. On the cover is a medallion with relief representing
Dionysos, Eros, and a Muse, moving in precession to r. The Muse leads the
way, turning back to look at the others ; she has flowing hair, wreathed with ivy,
long girt chiton, small himation overr. arm, and shoes, and plays on the kit/tara.
Dionysos advances r. foot, and leans back on Eros, looking down at him and
placing r. arm round his neck ; he is beardless and wears an ivy-wreath and
a himation hanging from his 1. arm ; over 1. shoulder he carries a tJiyrsos. Eros
follows him with 1. leg advanced, grasping his r. wrist with r. hand. The ground
is punctured all over.
Diam. z,\ in. Found in Elba, 1852. Cf. Gerhard, Etr. Spiegel, i. pi. 21, fig. 2. Both
handles and hinge preserved. Round the design, egg-moulding. Part of the top of the design
is broken away. A similar design on an Etruscan mirror-case, formerly in the possession of
the late Mr. S. S. Lewis, now at Corpus Christi College, Cambridge, is given by King in
Cambridge Antiquarian Communications, iv. (1883), plate opp. p. 187.
733. Mirror-Case, cover of. A group of Dionysos and Ariadne embracing:
Dionysos stands to the front, holding a tliyrsos in r. hand (tied with a sash), and
looking to r. at Ariadne, who stands in back view, looking up at him, and placing
1. arm round his neck. Dionysos is beardless, and has drapery twisted round
his r. leg, and shoes (?) ; Ariadne is nude, and stands with r. leg crossed
behind 1. Her 1. foot is somewhat out of drawing. On the 1. is the panther of
Dionysos moving to 1., looking up, on the r. a crater ; in the background a tree
on which hangs drapery.
Diam. 3! in. From Toscanella. Pulsky Coll., 1868 (Cat. 333). Round the design a
hering-bone pattern. The style and subject recall the series of fragments of Calenian phia'.ae
in the Brit. Mus. (Vase Cat. iv. G 125-149). Lower part corroded.
734 Cover of Mirror-Case. A group of Dionysos and Ariadne embracing :
almost identical with the preceding, except that Dionysos holds a cantharos in r.
hand and Ariadne wears armlets.
Diam. 3^ in. Blacas Coll., 1867. Handle remaining ; the rim of the cover is very much
injured and broken in places. Details somewhat more clearly rendered than in the preceding
example.
735. Cover of Mirror-Case. Eros giving drink to a panther: Eros stands
slightly to r., with 1. foot crossed over r., holding out a phiale in 1. hand to the
panther, which moves to r. with r. fore-paw raised, and looks back at him.
Diam. \\ in. Corfu, 1888. Round the design, cable-pattern. Handle and hinge still
remaining.
736. Cover of Mirror-Case. Seilenos with the infant Dionysos : On the I.
is the Seilenos advancing and holding the infant in his arms ; drapery hangs
from his shoulders and is fastened round his loins. Before him is a woman
looking back at him and holding a jug in r. hand and the mystic vannus or
\Ikvov (cf. Vase Cat. ii. B 174) on her head ; she wears long chiton and himation.
On the r. is a woman P) to 1., wrapped in a himation and holding it up in
128 CATALOGUE OF BRONZES.
front ; this part of the design is corroded and obscure. On the 1, is a vine which
curves over the Seilenos as far as the centre of the design.
Diam. 4f in. From Nola. Castellani, 1873. The mirror contained in the case is broken,
but partly retains its polished surface ; the under surface of the cover is also polished, and has
a fine yellow patina.
737. Mirror- Case. On the cover is a relief representing the Nymph Nysa
with the infant Dionysos : Nysa is seated to 1., with 1. hand resting on a rock,
holding Dionysos with r. arm ; she wears a twisted fillet and himation over lower
limbs. Dionysos clings to her r. arm, with r. foot pressed against her 1. knee,
and his face is turned to the front ; he holds a cornucopia. On the 1. is Hermes
to n, his arms crossed on a pillar ; he is beardless, and wears a fillet ; over his 1.
arm is a chlamys. Against the plinth of the pillar is his caduceus ; above is an
eagle flying. On the extreme 1. is a term of Priapus to the front, bearded, with
short girt chiton ; his r. hand is raised to his mouth.
Diam. 5J in. Castellani, 1867. Journ. Hell. Stud. iii. p. 84, No. 16 ; Ann. delV Inst.
1 88 j, p. 38 (and see pi. F) ; see also Heydemann, Dionysos1 Gcburt u. Kind/ieit, p. 28, and
Arch. Zeit. 1885, p. 230 (subject interpreted as Amalthea with the infant Zeus). Much
corroded ; larger handle and hinge remaining.
738. Cover of Mirror-Case. Aphrodite and Eros : On the r. is Aphroditd,
standing with 1. foot on raised ground, holding out a cup in 1. hand, r. extended ;
her hair is tied in a knot at the back, and over her 1. leg is a himation. On the
1. is Eros standing to r., looking to the front, with an expression of aversion ;
his 1. arm rests on a column, and his r. arm is crossed over it ; 1. foot thrown
back ; round his lower limbs is drapery.
Diam. 6 in. From Tarquinii. Castellani, 1873. The extreme right edge is restored.
Coarse style.
739. Stand of Mirror, formed by a figure of Aphrodite. She stands on 1. leg
with body slightly inclined to r., looking downwards ; her 1. hand is raised as if
to support the mirror, and in r. is an apple. Her hair is parted, and falls in thick
waves ; she wears bracelets, but is otherwise nude.
Ht. 8-J- in. Castellani, 1873. Ancient base ; support fixed to back of head. Very much
corroded.
740. Winged Victory forming the handle of a mirror, or perhaps of a patera. She
stands on a base supported by the mouths of two dolphins standing on their
tails ; her r. leg is bent and her wings are spread. Her hair is drawn back in
parallel tresses turned up at the back and gathered on the top of the head ; she
wears long chiton and himation wrapped round middle of body and 1. arm,
leaving shoulders and breasts bare, bracelet on r. wrist and shoes. On her head
is the support of the mirror or patera, with cross-piece ending in two flowers.
Ht. 10 in. Townclev Coll.
LATE ETRUSCAN BRONZES. I 29
C. CISTAE, VASES, CANDELABRA, etc. (741-785).
741. Oval Cista. Round the body is incised a combat, the upper part of which
has been cut away all round, so that only the lower parts of the upright figures
remain ; the scene has been interpreted as the battle between Aeneas and the
Latins, in which Turnus was slain, but this explanation depended on the
authenticity of the cover, which now appears to be modern {v. infra).
Beginning at the 1. on the further side from the hinge, is a quadriga at full
speed to 1. ; on the near horse is seated a female figure, side-saddle, turning
round and brandishing a sword ; she wears a short chiton with apjptygma. She
has been interpreted as Camilla {Aen. vii. 803 ff., xi. 432, 498 ff., 648 ff.),
but it is very much more likely that the figure represents Penthesileia. Under
the fore-feet of the horses runs a hare to 1. Behind the car a youth in short
girt chiton moves rapidly to 1. ; in the background is a warrior fallen on his r.
side, looking up to r. ; he is beardless, with helmet (cheek-pieces and nasal J,
cuirass, and short chiton, and grasps his sword in r. hand and shield in 1.
Next is a warrior rushing to r. to rescue a fallen comrade, on whose head he
places his 1. hand ; he wears cuirass, short chiton and greaves, and brandishes
a sword in r. hand ; at his feet is a helmet. The fallen one is beardless, with
helmet (crest, cheek-pieces turned up), ornamented cuirass, short chiton, sword
in r. hand, shield held up in 1. ; he is thrust through by a spear, which is seen at
the back, and protrudes from his breast, and his head sinks to 1. Next is a
warrior advancing to r. (cuirass, short chiton, shield, sword, and greaves) ; in the
background are two beardless warriors, one prostrate to 1., the other falling
forward to r. ; the first wears a cuirass and short chiton, the other, helmet and
short chiton. Next is a pair of combatants, the one on the 1. nude, with shield,
the other with bow and arrow in 1. hand, cuirass, short chiton, and greaves ; in
the background is a fountain (?) with a low base, on to which the water pours,
and on which a bird is perched ; a frog climbs up the basin. Next are two
fallen warriors, the one raising himself from the ground, the other lying on his
back. Next are three warriors with cuirasses, short chitons, shields and swords,
advancing to r. ; in the background an isolated helmet. Next is a warrior falling
back as if wounded ; he has a sword in r. hand, and wears chiton, cuirass, and
greaves ; his opponent has cuirass, chiton, and shield. In the background, a
warrior, who has fallen on his face to 1., with sword in r. hand, transfixed by a
spear. Next, a warrior to r. with shield, who has wounded another (cuirass,
chiton, shield), who falls back to r. ; finally, a nude warrior moving away to 1.
from an opponent ; between them, a fallen warrior, face downwards, stripped of
armour, but holding a sword ; above is a cuirass. Below, a broad double band
of palmettes and lotos-flowers alternating.
The design on the cover was originally interpreted by Brunn as the meeting
of Aeneas, Latinus, and Lavinia after the death of Turnus. But this interpreta-
tion was impugned by several authoiities on the ground that the story of Aeneas
and Turnus had not taken form before the time of Virgil ; and it was pointed
K
I30 CATALOGUE OF BRONZES.
out by Heydemann, that if that story is here represented, the design must be
modern. Other writers have accepted its genuineness without questioning and
rejected the interpretation, but though the cover itself is antique, the genuine-
ness of the design cannot be upheld. At the same time it may be remarked
that there is not wanting evidence that the story had taken shape by the
beginning of the second century B.C. (a date which would suit the style of this
cista), as is indicated by the poems of Naevius and Ennius, and other records
(see Prof. W. Y. Sellar, Virgil, p. 310). Purely Latin myths are not unknown
in Etruscan art (cf. Nos. 560 and 633). The handle fixed to the lid is in the
form of a nude woman thrown back in a contorted attitude and resting on the
hands and feet.
Ht. 8^ in. Diam. 18 x 8 in. From Palestrina. Castellani, 1884 {Sale Cat. 363). For-
merly in possession of Sig. Pasinati. Mon. delP Inst. viii. pis. 7, 8 ; Annali, 1864, p. 356 ff.
(for Brunn's interpretation and full description of scene on cover), 1866, p. 167, 1878, p. 271,
note; Arch. Zeit. 1871, p. 122 (Heydemann) ; Nissen in Jahrbiicher fiir Philol. xci. (1865),
p. 378 ; Cauer, ibid. xv. Suppl.-bd. p. 137 ; Roscher, Lexikon, i. p. 186 (s.v. Aeneas), ii. p. 1914
\s.v. Latinus) ; Martha, LArt Etrusque, p. 536 ; id. Varcheol. Eir. et Rom. p. 112 ; Robert,
Homer. Becher {$otes Winckelmannsfestpr. Berlin, 1890), p. 63, note 1. The bottom is much
damaged, and the hinge is broken. On the under side is a spiral pattern in relief ; the cista
stands on four lion's claws.
742. Cista. Round the lower part of the body are eight rings ; the feet are in
the form of lion's claws, and above each is a relief of a lion running to r.
On the cover are two figures of Comic Actors conversing ; the one on the
1. has r. hand on his mouth and looks at the other, who places r. hand on his
shoulder. They are bald, with bearded masks, padded stomachs, short chitons,
anaxyrides, socci, and garments over 1. shoulders twisted round the waist. The
one on the 1. holds in 1. hand a lekythos and strigil of large size ; the other, a
sort of lantern.
Ht. 19 in. Surface slightly injured.
743. Cista. Round the body is a frieze divided into two scenes : (1) The
death of Polyxena (?) : Polyxena (?)* is fallen on her knees to 1. ; she is nude,
with long hair. Her 1. arm is grasped by a beardless hero (Menelaos ?) stand-
ing behind her, his r. hand placed behind her head ; he wears a chlamys fastened
in front, and a bracelet on 1. arm : behind him is his shield. On the 1. are two
beardless heroes : the nearer one (perhaps Neoptolemos) stands to the front,
extending r. hand towards Menelaos ; he wears a chlamys and greaves, and
in his 1. hand is a spear. The other also stands to the front, and is similarly
attired ; he has a spear in r. hand, and his 1. rests on his shield. On the 1. is a
basin on a fluted pedestal, into which water pours from a lion's head spout ;
the scene is bounded on either side by an Ionic column, with abacus on which
are three conical objects.
(2) The death of Neoptolemos at Delphi : Neoptolemos lies on the
* It is not quite certain that the figure is feminine ; the proportions would suit equally well for a boy ;
but the design is not clear here.
LATE ETRUSCAN RRONZES. 1 31
ground in front of the altar of Apollo, with head to r. resting on 1. arm ; he is
nude and beardless, and his eyes are closed in death. Over him stand two
women to the front, with hands raised as if in lamentation ; they wear neck-
laces, bracelets, and long chitons with looped-up sleeves, that of the one on
the 1. girt, the other's falling loose. These two probably represent Andromache
and Hermione ; on the altar, which is ornamented by two bands of chevrons,
are two upright objects between three phialae. On the 1. are three beardless
heroes standing to the front and looking towards the centre ; they wear
chlamydes, armlets on 1. arms, and greaves, and shields at their 1. sides. The
first, Orestes, has a drawn sword in r. hand ; the next, Pylades, places 1. hand
on his shoulder, and holds a spear in r. hand ; the third, who is probably
Helenos, also has a spear in r. hand. On the 1. the scene is bounded by three
Ionic columns (all as before), in front of which stand the three Delphic deities,
Apollo, Artemis, and Leto. Apollo in the centre to front wears armlets and a
himation over 1. shoulder ; in his r. hand is a laurel-branch, and in 1. a bow.
Artemis on the r. is turned towards Apollo, and holds out a young fawn (?) in r.
hand, in 1. a bow ; she wears a stephane, earrings, necklace, bracelets, and long
girt chiton with apoptygma and looped-up sleeves. Leto holds a staff in r. hand
and places 1. on Apollo's r. shoulder ; she wears a bracelet on r. arm, shoes, long
chiton with looped-up sleeves, and himation over 1. shoulder. All the figures in
both scenes have dishevelled hair, parted in the middle ; the ground is filled
throughout with vertical curved lines.
Round the cista have been fixed eight rings for the attachment of chains ;
two with pieces of chain still remain. The feet are in the form of lion's paws,
with a lion crouching to r. in relief above. Round the design above, a band of
double palmette and lotos pattern ; below, the same, but single.
Ht. io in. Diam. 8| in. Found in 1786 near the Temple of Fortuna at Palestrina.
Towneley Coll. (a print in Brit. Mus., Department of Greek and Roman Antiquities). Raoul-
Rochette, Mon. Ined. pi. 58, p. 330; Gerhard, Etr. Spiegel, i. pis. 15, 16, pp. 29, 49 ; id. in
Bull. dell Inst. 1831, p. 208; id. Tritiksch. u. Gefdsse, ii. p. 32, note 2; id. Hyperb.-rbm.
Stud. i. p. 95 ; Overbeck, Her. Bildw. p. 666 ; Muller-Wieseler, Denkm. d. alt. Kunst, i. 62,
311; Welcker in Rhein. Mus. iii. (1835), P- 6o7 '■> id- Alie Denkm. iii. p. 542 ; Miiller, Handbuch3,
p. 189 ; Arch. Zeit. 1849, P- II0 5 Ann. delP Inst. 1866, p. 162. The cover is dome-shaped, with
a knob to which a chain is attached, and is probably modern. When found the cista contained
the knife No. 2760, a mirror, two armlets, a spoon, a tripod, a statuette of Mars (No. 456),
and other objects (see Guide to Bronze Room, 1871, p. 16, and drawings from Towneley Coll.).
744. Cista. Round the body is a frieze divided into three scenes :
1. Return of Persephone from Hades (cf. Cal. of Vases, iv. F 332) : On
the 1. Pluto is seated, with sceptre in 1. hand, grasping Persephone's r. arm with
r. hand ; he is bearded, with rough hair, and wears a himation over lower limbs.
Persephone stands to the front, wearing stephane, necklace with bulla, shoes,
long chiton, and himation with vandyke patterns, in which her 1. arm is muffled ;
at her 1. side is a plant. On the r. Hermes advances, with r. hand extended as
if summoning Persephone ; he is beardless, with slight whiskers, boots, and
chlamys over 1. arm.
K 2
132 CATALOGUE OF BRONZES.
2. Nike and a youthful horseman : The youth is just dismounting on the
near side of his horse, which stands to 1. ; he wears sandals, and looks back at
Nike ; his r. hand is placed on the horse's head, and 1. on its flank. Nike
stands to the front, turning to 1. to place a fillet on the head of the youth ; her
hair is tied at the roots with a fillet, and she wears bracelets, necklace, shoes,
and long girt chiton with apoptygma. The horse has two collars, one of bullae ;
in the field are two plants.
3. Dionysiac scene : On the extreme 1. is Dionysos to r., bearded, with
ivy-wreath, sandals, and himation over 1. shoulder ; he holds a thyrsos in r. hand,
round which a sash is tied. His 1. arm is placed round a diminutive female
figure, which places r. arm round him and takes hold of the thyrsos with 1. ; she
wears a Phrygian cap, long girt chiton, and bracelets. Before them a youthful
Satyr moves to r., looking back at them, holding a burning torch reversed in
both hands ; he wears an ivy-wreath, fawn-skin over r. shoulder, and boots ; his
teeth are displayed. Next is a woman in Phrygian costume moving to r. ; she
wears peaked cap, anaxyrides, shoes, and a mantle wrapped round her body-
Confronting her is a youthful Satyr, with ivy-wreath, 1. hand raised to his head ;
behind him, a bearded man looking up to r., with r. hand raised, holding up a
bunch of ivy (?), wearing chiton and himation in which 1. hand is muffled. Parts
of the last three figures are destroyed.
Above and below the designs, a pattern of horizontal palmettes. Round
the cista are eight holes for the attachment of rings, some of which still remain.
The feet are in the form of lion's claws, and above each is a figure in relief of
Eros kneeling on r. knee, with face to the front, holding an uncertain object in
r. hand, 1. raised.
On the cover are incised two groups of a lion and lioness confronted ; round
the centre, egg pattern and a rosette ; border of laurel-wreath. The handle is
formed by a group of Peleus and Atalanta wrestling : Peleus on the 1., nude
and beardless, r. hand on hip, is bent forward to r., with head touching Atalanta's ;
their inner arms are intertwined, the hands resting on each others backs.
Atalanta wears a loin-cloth and endromides ; 1. hand on hip.
Ht. 15I in. From Palestrina (?). 1847. Gerhard, Klcine Schriften, ii. pis. 57, 58, p. 93 ;
Jahn, Ficoroiische Cista, p. 49; Arch. Zeit. 1847, p. 186; Ann. dell' Inst. 1866, p. 165.
Designs very much worn and parts obliterated. Late, careless drawing.
745. Cista. Round the body is a frieze, perhaps representing a travesty of the
Judgment of Paris (?) : The principal scene is bounded on either side by a
massive Ionic column. On the extreme 1. is Eris running to r., with a sword in
r. hand and 1. extended ; she has dishevelled hair, necklace with bulla, bracelets,
cross-belt, and short chiton reaching to the hips, with looped- up sleeves.
Next on the r. is Prometheus (cf. Catullus, 64, 295), or perhaps Hephaestos
{Epic. Gr. Fragm. ed. Kinkel, i. p. 22), a short bald-headed old man, bearded,
holding an axe in r. hand and extending 1. ; he wears shoes, and over his 1. arm
hangs a chlamys. In the background is a monument with necking of palmette
and lotos pattern, and cornice on which are figures of a lion to r. and Gryphon
LATE ETRUSCAN BRONZES. ) ^
confronted, each with r. paw raised. Next is Hermes (?) moving to r., looking
back ; he is nude and beardless, and holds an apple in either hand. He is led
on by Hera, who places r. hand round him and moves to r. with 1. hand
extended ; she has rather rough hair, earrings, necklace, and bracelets, shoes,
long chiton with looped-up sleeves, and himation with embattled border, gathered
up over 1. arm. She is preceded by Eros, who flies to r., with face to the front,
holding a sash in either hand ; he wears shoes, and a chlamys over 1. shoulder,
and is represented as a full-grown youth. On the r, of the scene are Athene
and Aphrodite ; between them, a tree-stump. Athene stands to the front,
looking to 1., with spear in r. hand, and 1. resting on her shield ; she has long
hair, and wears a crested helmet, earrings, necklace, bracelets, long girt chiton
with apptygma, aegis with Gorgoneion and fringe of snakes, and shoes.
Aphrodite stands half-turned to r., with r. hand on hip, and 1. elbow resting on a
stele, over which is thrown a himation with vandyked border ; her hair is rolled
up all round, and she wears earrings, necklace with bulla, and bracelets. The
column on the 1. of the scene has a group of three combatants sculptured on the
necking ; the other has a lotos and honeysuckle pattern. Behind the column on
the r., on its 1. side, is the figure of a boy clasping it with r. hand, as if in fear ; he
wears bracelets and anklets ; on the further side of him is a dog to r., looking
round at the boy. Between the two columns is a youthful figure with Satyr's
ears, to the front, wearing endromides, and drawing on a chlamys bordered with
dots, in which he is assisted by another youth in the background ; it has been
suggested that this is a burlesque figure of Paris, his rustic character being
emphasised by the Satyr's ears and his two companions. Finally, on the r. of
this group is a bearded man to r. leaning on his staff, and holding out r. hand ;
he wears shoes, and a himation wrapped round his 1. arm. He may possibly be
meant for Zeus ; for the type, cf. Brit. Mus. Cat. of Sculpture, i. No. 324 (18-22).
The rocky character of the scene is indicated throughout by undulating lines ;
it is strewn with occasional flowers. Below the design is a frieze of animals :
doe crouching to 1., attacked in front by a panther and behind by a Gryphon ;
in the background, a tree-stump ; boar to 1. attacked in front by a lion and
behind by a panther ; mule crouching to I., attacked from behind by a lion ;
before it, a tree-stump. The ground is rocky throughout.
The feet are in the form of lion's claws ; above each is a group in relief of
a lion seizing a doe (?) from behind. Above the main design is a band of
palmettes and flowers alternating with female heads to the front, wearing
earrings. On the cover is a frieze of animals incised, with inner border of egg
and dart pattern : wolf and panther confronted ; between them, two plants and
a goat's head to r. ; lion and Gryphon confronted ; between them, a donkey's
head to 1. The handle is formed by a group of a youthful Satyr and a Maenad
standing side by side, with the inner arms intertwined and resting on each other's
shoulders ; the Maenad's hair is parted and rolled up all round, and each wears
a panther's skin over one shoulder.
Ht. 15! in. Castellani, 1884 (Sale Cat. No. 360). Murray, Handbook of Gk. Archaeology ^
p. 142 ; Smith, Diet. AutiqsW. p. 44 1. Two of the feet arc loose. Drawing free and execution
134 CATALOGUE OF BRONZES.
careiul. Apuleius {Met. x. 233) mentions that he saw a pantomime or burlesque of the
Judgment of Paris performed at Corinth, but perhaps the Etruscan origin of this scene is
sufficient in itself to account for any grotesque or unusual details. Another explanation of the
scene is that it represents the race of Atalanta and Meilanion (Murray, op. cit. p. 140).
746. Cista. Round the body is a frieze with scenes from the Trojan cycle : (1)
the combat of Paris and Menelaos (//. iii. 355 ff.). On the 1. Paris advances,
with shield on 1. arm, brandishing his sword in r. ; he is beardless, and wears a
Phrygian helmet with engrailed crest, cuirass, and short chiton. Menelaos
stands with 1. foot on a rock, seen from behind, with face turned to 1. to watch
the onslaught of Paris, against whom he defends himself with shield (device of
Gorgoneion) and sword ; he is bearded, with high-crested helmet in the form of
a Satyr's mask (bearded), chlamys on 1. arm, and sword-belt over r. shoulder.
Between them is Aphrodite interposing, advancing to r. with sword in r. hand
and pelta in 1. ; she is winged, and her hair is tied at the roots with a fillet ; she
wears a necklace and from her 1. arm hangs a mantle. (Cf, the episode of
Aeneas and Diomede, //. v. 311.)
(2) Achilles with the corpse of Penthesileia, and Thersites : In the
foreground lies the body of Penthesileia with face upturned, feet to 1., and
elbows bent, the r. side pierced by a spear ; under it is a mantle, which covers
the feet. Achilles stands to the front over it on the further side, with shield on
1. arm (device of Gorgoneion with engrailed border), brandishing a sword in r.
hand ; he is beardless, and wears crested visored helmet, cuirass, short chiton,
greaves, and chlamys floating behind like the wings of a butterfly. On the r.
Thersites advances, with shield on 1. arm (device as Achilles), about to plunge
his spear into the eyes of Penthesileia (as related in the Aethiopis) ; he is
beardless, with rough hair, and on his 1. arm is a chlamys. On the 1. of this
scene is a mounted Amazon to r., with spear couched at her side ; she wears a
chlamys and endrcmides.
(3) Combat of Greeks and Amazons, in two groups : (a) An Amazon to
1., with short chiton, cuirass, and chlamys as Achilles above (with border of stars),
seizes the hair of a fallen Greek in 1. hand, and plunges her sword into his r.
shoulder ; the Greek is fallen on r. knee to 1., and is nude and beardless, with
sword in r. hand. Next {b) is a Greek warrior to the front, looking to r., and
seizing the bridle of a horse on which an Amazon is mounted ; he has a sword
in r. hand, and is beardless, with bordered chlamys floating behind like that
of Achilles. The Amazon attacks him with a battle-axe ; she wears endromides,
and a chlamys round 1. arm. Between these two groups is a shield standing
on its edge. The ground is indicated by rocks throughout. Above and below
the frieze are borders of palmettes alternately upright and inverted. The cista
stands on three feet in the form of lion's claws, on which are figures of a
lioness in relief, running to 1.
On the cover are two incised designs: (1) Lion to r. and Gryphon con-
fronted, each with one paw raised ; between them, a ram's head to 1. (2) Two
Gryphons (?) confronted ; the one on the 1. has a goat's head (?), the other, beak
LATE ETRUSCAN BRONZES. T 35
and crest as usual. Round the edge is a laurel-wreath. The handle is in the
form of a group of Peleus and Atalanta wrestling, each with one hand on hip,
passing the other round the back of the other's neck ; they stand to the front,
bending towards each other. Atalanta on the r. wears necklace and loin-cloth ;
both have their hair rolled up all round.
Ht. 14I in. Palestrina, 1888. Murray, Handbook of Gk. Archaeology, p. 136; Builder,
23 Feb. 1889, p. 145. The style is late, probably of the third century B.C., but the drawing is
free without being careless. For the subject (2), cf. Jahn, Gr. Bilderchroniken, pp. 27, 67, in.
Round the cista are eight holes for the attachment of rings as Nos. 742-744..
747. Cista. On the cover are three figures : (1) The infant Heracles strangling
the snakes. He squats with 1. leg doubled up and 1. hand extended, holding a
snake in r. hand against his leg ; it coils round behind his back, and at his 1. side
is another snake. (2) Iphicles (?) squats with r. leg doubled up, 1. hand
extended (having held some object), r. hand by his side, looking to his 1.
(3) A bearded man seated in a reflective attitude looking down to his r., and
supporting his head with 1. hand ; his r. foot is extended, and in r. hand he
holds the pommel of a sword (?).
The cista stands on three feet in the form of lion's claws ; above each
is a Siren in relief, with hair drawn back from the forehead and wings spread.
Ht. 9! in. Campanari, 1839. Surface of cista rather worn.
748. Peleus wrestling with Atalanta, from the top of a cista. They stoop
forward to wrestle ; Peleus to r. with 1. hand seizes Atalanta's 1. arm behind her
head, and with r. hand he seizes her r. arm ; her r. hand grasps his 1. shoulder.
Peleus is beardless and nude, with hair in short rough curls ; Atalanta has
short curly hair, and wears a fillet and short girt chiton.
Ht. 3! in. 1852. Feet of both figures injured.
749. Two Feet of Cista in the form of lions' claws, above which is a Sphinx
in relief, both sides of the body being shown in false perspective (see Journ.
Hell. Stud. ii. pi. 15, fig. 4, p. 318); the hair is treated in a semi-Egyptian
fashion, in formal rows of curls over the forehead and one tress falling on each
shoulder ; the wings are spread.
Ht. 6i and 6f in. Acquired from the Earl of Carlisle, 1896. Coarse work.
750. Foot of Cista, in the form of a lion's claw on a plinth, above which is
a Siren to the front in relief.
Ht. 2 in. From Vulci ; obtained 1829. Burgon Coll. Coarse work.
751. Three Feet of a Cista, in the form of lion's claws surmounted by imitation
Ionic caps ; above each is a group of a Greek and Amazon in combat in
relief. The Greek to r. has forced the Amazon down on her knees, and places
1. foot on her r. leg, seizing her by her dishevelled hair ; she kneels to r. and
grasps his r. arm with r. hand. The Greek is beardless, with sword-belt and
chlamys floating from 1. shoulder, and shield at his r. side ; the Amazon has
I36 CATALOGUE OF BRONZES.
embroidered drapery over 1. shoulder and lower limbs, and holds up a pelta on
1. arm.
Ht. 5 in. From Palestrina. Castellani, 1865.
752. Two Feet of a Cista, in the form of lion's claws on plinths, with voluted
caps above. Above each is a relief representing a youthful Satyr kneeling
on 1. knee to r. and holding a wine-skin with r. hand on r. knee, the mouth
of which he holds in 1. hand ; he wears a skin tied in front.
Ht. 4I in. Towneley Coll. Curtius, Knieende Figuren d. altgr. Kunst (29'" Winckel-
mannsfestprogr), p. 11.
753. Olpe, with trefoil mouth and straight beak-shaped spout ; the handle ends
above in snake's heads along the rim of the vase, and below in an emblema of a
Siren to the front, in low relief, with hands on hips and two pairs of wings, the
details coarsely executed, in an archaistic style.
Ht. njin.
754. Dish, with two handles, each in the form of two serpents rearing up at
each other ; below each handle is a mask of Medusa, of the later type, with rich
snaky hair and wings over the forehead.
Ht. 4k in. ; with the handles, 6} in. Diam. 19^ in. Somewhat injured.
755. Patera. The handle is in the form of a figure of Aphrodite holding up a
mass of her hair with r. hand and scraping her 1. thigh with a strigil in 1. ; her
hair is brushed out in a thick mass on either side, and she wears a necklace with
three bullae, bracelets, armlet on 1. arm, and shoes.
Ht. 14 in. Diam. g| in. From Vulci. Campanari, 1847. Small triangular base under
the figure.
756. Balsamarium, formed of the heads of a Satyr and Maenad, back to back.
The Satyr has an elaborate ivy- wreath ; the Maenad's hair is parted and waved,
and she wears a plaited head-band and necklace ; the lips are parted and the
eyes carefully rendered. The mouth of the balsamarium is formed by an
inverted calyx, with two rings attached.
Ht. 53: in. Payne Knight Coll. On these and similar types of vases, see references given
in Pottier and Reinach, Necropole de Myrina, p. 509, note 2.
757. Balsamarium, as last. The Satyr wears a wreath ; the Maenad earrings,
double necklace, and head-band ; the eyes of both are hollow. The mouth has
two rings attached.
Ht. 3^ in. Castellani, 1873.
758. Balsamarium, formed of the heads of a Satyr and a Maenad, back to back.
The Satyr wears a wreath with a flower over the forehead ; the Maenad wears
earrings, necklace with pendants, and a wreath with flowers and a band low
down on the forehead ; on the top of her head arc two locks of hair which have
LATE ETRUSCAN BRONZES. 137
formed rings for a handle or chains. The cover is in the form of a coil of plaited
hair.
Ht. 4 £ in. Castcllani, 1873. Rather corroded.
759. Balsamarium, in the form of the head of a winged goddess. Her hair is
drawn up to the crown in parallel waves or plaits, with pairs of small close curls
over the forehead, and she wears elaborate earrings, necklace with pendants, and
sphendonk encircling the head ; on either side of the head, a small wing. On the
head are two rings, to which a handle is attached ; in the mouth of the bal-
samarium is a stopper in the form of a knot of hair.
Ht. 4! in. 1839. Compare Gori, A/us. Etr. i. 80.
760. Balsamarium. As the last ; no curls over forehead, and no necklace. On
the crown is the cover, with a knob.
Ht. 4 f in. From Chiusi. Castellani, 1873.
761. Balsamarium, in the form of a winged female head. The hair is arranged
in elaborate curls over the forehead, and drawn in parallel waves or plaits up
to the top of the head ; on either side of the head, a small wing. She wears
earrings, a twisted tore, and a sphendone with a rosette in front and incised
patterns. Two rings are attached to the head, to which an elaborate arrangement
of chains is fastened ; no cover.
Ht. \\ in. Sloane Coll. 473. Coarse work.
762. Balsamarium, in the form of a female head, looking upwards. Her hair is
drawn up to the crown in parallel waves or plaits, and she wears earrings, necklace
with pendants, and an ornamented sphendonk. The cover is in the form of a
coiled knot of hair ; on the head are two loops of hair, to which chains are
attached.
Ht. 4§ in. From Chiusi. Castellani,- 1873.
763. Balsamarium. As the last ; plain twisted necklace, and sphendont tied at
the back of the head. The eyes are hollow ; the chains are set in the figures of
two small dogs (?) attached to the head.
Ht. 4 in. 1839.
764. Balsamarium, in the form of a female head. The hair is drawn up to the
crown, and there twisted up in a plait, which forms the cover ; she wears ear-
rings, necklace with pendants, and a large elaborate spJicndone. Two rings and
remains of a handle.
Ht. 4 -g in. Castellani, 1873.
765. Balsamarium, in the form of a female head. The hair is drawn in parallel
plaits to the back of the head, and the plaits are there wound round into a knot,
I38 CATALOGUE OF BRONZES.
two being passed round the head and fastened on the forehead ; she wears
earrings. On the head, two rings.
Ht. 3| in. Payne Knight Coll.
766. Bal samarium, in the form of a female head. She wears a sphendone passing
all round the head, earrings, and necklace with pendants ; hair as No. 759. On
either side, a ring, with chains attached which meet in another ring.
Ht. 4^ in. No cover.
767. Balsamarium, in the form of a female head. The hair is waved, and she
wears a Phrygian cap ; eyes hollow. On the top, a small lid with hinge ; two
rings attached for a chain. On the back of the neck is inscribed RMIOVM, SutJiina.
Ht. 5^ in. Castellani, 1868.
768. Balsamarium. As No. 759 ; necklace with pendants. Two rings on the
top of the head.
Ht. 3-;- in. Castellani, 1873.
769. Balsamarium in the form of two hooded heads, back to back. The first
is that of a youth with mouth open and 1. cheek swollen ; the other of a woman
with head upturned to r., hair waved, head-band with bead and reel pattern, ear-
rings, and a tore. A chain is attached to the mouth of the vase.
Ht. 5 in. Payne Knight Coll.
770. Balsamarium in the form of a bust of a Gaul (?) ; he has a slight beard,
and his hair falls in thick flat masses. On the head are two rings to which a
handle is attached, and on the top of the head, a circular lid with hinge.
Ht. 5 in. i860.
771. Candelabrum. Four large hooks project from the lower part of the stem,
and three from the upper ; above is a heavy triangular base ornamented with
maeander, on which is a group of a youthful Satyr and a Maenad embracing.
The Satyr stands on the 1. of the Maenad, with 1. foot drawn back and r. arm
round her waist ; in 1. hand he holds her 1. hand, which passes round his neck.
The Maenad holds up her drapery in r. hand ; her hair is gathered in a top-knot
over the forehead, and she wears earrings and a long girt chiton.
Ht. 8| in. From Orvieto. Campanari, 1847. Arch. Zeit. 1847, p. 187.
772. Candelabrum. On the stem is a panther climbing up after a cock ; this is
supported by a figure of Aphrodite ; she holds up drapery in 1. hand, and her
r. is raised as if to fasten her hair ; on her head is a large modius of acanthus
leaves. The feet of the candelabrum are in the form of lion's claws on plinths ;
between them, open-work palmettes.
Ht. 19 in. From Chiusi. Castellani, 1873.
LATE ETRUSCAN BRONZES. 139
773. Candelabrum. On the top is a Seilenos, with arms held up in front,
wearing a girdle tied in front with ends hanging down. His feet appear to have
been intended to be equine. The stem is fluted, with four branches at the top
ending in leaves ; the feet are in the form of lion's claws on plinths with
palmettes between, and at the bottom of the stem is a palmette pattern in low
relief, with moulded tongue and bead patterns above.
Ht. 3 ft. 9 in.
774. Candelabrum. Feet in the form of horses' legs on small plinths, joined to
the stem by leaves curling up at the outer end in double volutes ; on the stem a
spiral pattern, and a cock climbing up it ; above, a shallow bowl with moulded
egg-pattern round it.
Ht. 15I in. From Chiusi. Castellani, 1873.
775. Candelabrum. Feet in the form of horses' legs, with leaves between ; up
the stem a spiral pattern, and a bird perched half-way up it ; square top with
circular sinking and a bird perched at each corner.
Ht. 15I in. From Canino. Bequeathed by Sir W. Temple, 1856.
776. Candelabrum. The feet are in the form of hoofs, with leaves between ; flat
top, supported on a calyx. Round the stem a snake is twisted, climbing upwards,
and higher up, a cock, also climbing upwards.
Ht. 16 in. Hamilton Coll. 42.
777. Candelabrum. Three feet in the form of leaves or lotos-flowers ; up the
stem is a spiral pattern, and on it a panther pursuing a cock upwards ; on the
top is a bowl.
Ht. 14 in. Hamilton Coll. 43.
778. Candelabrum. Three small feet in the form of hoofs ; heavy moulded
base ; up the stem, a panther pursuing a pigeon. Round the bowl at the top,
moulded egg-pattern.
Ht. 12 in. Sloane Coll. 530.
779. Candelabrum. Feet in the form of human legs, with shoes on the feet with
turned-up toes, and above, the skirts of a short chiton all round. Up the stem,
on which is a spiral pattern, is a panther climbing ; saucer-shaped top.
Ht. 18s in. Presented by Prof. Westmacott, R.A., 1869.
780. Candelabrum. The feet are in the form of dolphins with heads resting on
plinths, and palmettes between the tails which support a three-cornered Ionic
capital on which is a plinth supporting the figure of a youth who pours a libation,
holding up a jug in r. hand and holding out a patera in 1. ; he has straight hair
and wide hips like a woman, and wears shoes. On his head is a calyx, from
which rises a stem, with square cusped top and a bird on each corner ; from it
have hung pendants as on No. 781. On the stem is a panther seizing a bird, and
14-0 CATALOGUE OF BRONZES.
higher up a cock. On the back of the youth is inscribed : aniov*in I 3WAII/I AO
Thania Lucini Suthina.
Ht. 21 j in. From Bolsena (?). Castellani, 1873. Corssen, Sprache der Etrusker, i.
p. 1007 ; Fabretti, C. I. Ital. Suppl. i. No. 377 ; cf. Ann. deW Inst. 1871, p. 27.
781. Candelabrum. The feet are in the form of lion's claws, which are attached
to legs in the form of the heads and necks of Gryphons, with palmettes between ;
plain stem, with a fiat ring half way up, and square top with a bird at each
corner (one lost) and pendants, hanging by chains. Round the upper part of
the stem is a bearded snake head downwards, and on the lower part a panther
pursuing a cock up the stem.
Ht. 16J in. From Vulci. Campanari, 1847. Arch. Zelt. 1847, p. 187.
782!. Fire-rake. The handle is of ivory, like the handle of a sword, and below it
is a bronze disc with perforated patterns ; the stem is in the form of a fore-arm
and right hand, grasping a twisted rod which ends in a snake's head, in the
mouth of which is a left hand bent at right angles so as to form the rake.
Length 20 in.
782u. Fire-rake. As the last ; hollow socket for handle.
Length 13! in. Canino Coll.
7823. Fire-rake. As before ; stem partly twisted, partly fluted ; instead of a
hand grasping it, it issues from the mouth of an animal's head ; the bent hand
issues from a similar head.
Length \\\ in.
7824. Fire-rake. As before ; plain stem ending in hollow socket below and
a calyx above, from which the bent hand issues.
Length J 5 in. Corroded.
783!. Gridiron (?). Hollow socket for a wooden shaft, the middle part twisted
and tapering towards the head, which has three prongs (the two outer curved)
ending in a cross-bar, on which is a flat piece on three uprights, with three bent
strips of flat bronze nailed across and ending in a mule's head and neck rearing
at either end.
Length 14 in. Comarmond Coll., 185 1.
783.,. Gridiron (P), as the last ; hollow ribbed handle, with a moulded band
above ; plain stem ; small knobs instead of the mule's heads.
Length 16^ in. 1853.
7833. Gridiron (?), as the last ; handle ending in lion's head with open mouth ;
fluted stem.
Length \-]\ in. Blayds Coll., 1849.
LATE ETRUSCAN BRONZES. 141
784^ Harpago (Kpeaypa). The handle is hollow, fluted, and tapering upwards,
ending in the mouth of an animal from which issues the stem, with spiral
flutings ; the end is formed by seven radiating snakes' heads, and one erect
on the end of the stem, holding a ring in its mouth.
Length 16^ in. Middle part corroded. Hooks broken off. Cf. Babelon and Blanchet,
Bronzes de la Bibliotheque Nat. No. 1499, and Jahrbuch, vi. (1891), p. 173. Helbig, Horn.
Lpos'1, p. 353, identifies this object with the Homeric 7re//7rco/ioXoi'.
784.2. Harpago. Hollow handle and twisted stem, ending in seven large hooks,
and on the end of the stem an upright piece branching into two curved spikes.
Length 14 in. Presented by General Meyrick, 1878.
784,. Harpago. The handle has moulded rings above and below ; otherwise
as the last.
Length 15^ in. Comarmond Coll., 185 1.
7844. Harpago, as before ; the stem is plain, and issues from an animal's mouth,
as No. 784^ ; five hooks, and on the end of the stem a ring and a hook.
Length 15 in.
785!. Two Feet of Chair or other object, ending in lion's claws on plinths, and
hollowed out at the back. On each is a figure of Victory to the front, with
hands on breast and wings spread, ending off at the knee ; she wears a radiated
stephank and long sleeved chiton with apoptygma.
Ht. 8 J in. and 9|in. Towneley Coll.
7852. Two Feet of Chair, as the last, but more of the leg is indicated, and there
are no plinths. On each is a Sphinx to the front, seated with the hind feet
brought up to the fore feet ; they have long tresses falling on the shoulders,
confined with a double ampyx, and wings spread and recurved ; below each is a
palmette in low relief.
Ht. 9^ in. Towneley Coll. Ends of wings broken off.
142
C. GALLO-ROMAN AND GRAECO-ROMAN
SELECT BRONZES 786-908).
I. BRONZES FROM GAUL, MOSTLY OF LOCAL WORKMANSHIP
(786-824).
786. Zeus. He stands on 1. leg, the r. foot drawn back ; his 1. hand is raised and Plate
has held a sceptre, and the r. has been extended, holding a thunderbolt, of which XXVII
part remains. He looks slightly to his r., and has richly-curling hair and beard ;
a chlamys hangs over his 1. shoulder and is caught up over r. arm. This
statuette appears to be a copy of some well-known type of Zeus ; the head
resembles one in the Brit. Mus. from the Towneley Collection (Spec. Ant. Sculpt.
i. pi. 31).
Ht. 4I in. From Lyons. Comarmond Coll., 185 1. Right hand and foot lost.
787. Heracles. He stands with r. foot slightly advanced, holding the handle of
his club (?) in r. hand ; he has smooth hair and a curly beard, and moustache ;
the eyes have been inlaid with silver.
Ht. 12J in. Found at Bavay, France, in 1818. Presented by E. Drummond Hay, Esq.,
1833-4. Spec. Ant. Sculpt, ii. pi. 33 ; A/on. deW Inst. i. pi. 17, and Ann. 1830, p. 59 ; Mansell,
Brit. Mus. Photographs, No. 880 ; Roscher, Lexikon, i. p. 2180. The left arm and part of the
club are lost.
788. Dispater. He stands on r. leg, looking down to his r. ; in r. hand he holds
out an olla, and in 1. he has held a hammer. He is bearded, the beard and hair
being roughly treated ; over his head and neck is a wolf's skin. He wears a coat
of the form known as caracalla, fastened with a belt round the waist, with a
chequer pattern lightly incised, and with fringed border, a chlamys over his
shoulders, bracae chequered like the coat, and sandals ; at his throat is a silver
jewel.
Ht., with ancient base, 11 in. Found at Vienne, Isere, 1866. Wills Sale, 1894. Gazette
Archeol. 1887, pi. 26, p. 178. On the identification of this type as Dispater, see Reinach,
Musee de St. Germain-en-Laye, p. 137 ff., and Flouest in Revue Archeol. v. (1885), p. 7 ;
other examples in Babelon and Blanchet, Bronzes de la Bibliotheque A alionale, 694-698, and
Bertrand, Religion des Gaulois, pp. 354, 355.
789. Dispater. He stands on r. leg, with 1. foot drawn back, holding out an Plate
olla in r. hand ; the 1. hand is raised, and has held a hammer. He has a slight XXI.
beard and thick curly hair, and wears a tight-fitting sleeved leather jerkin to the
GALLO-ROMAN BRONZES. 143
knees, with a belt in which are a sword and hunting-knife, and a seam down the
front ornamented with crosses ; sandals and bracelets.
Ht. $1 in. From Dijon, France. Comarmond Coll., 185 1. Eyes have been inlaid.
790. Dispater. Similar; no olla, no sword, and no band down front of jerkin. Plate
XXI
Ht. 6| in. From Tournus, France. Comarmond Coll., 185 1. Reinach, Repertoire, •"-■"■*■•
ii. p. 21, No. 7 ; see id. Muse"e de St. Germain-en- Lay e, p. 179.
791. Dispater. Stands on 1. foot ; 1. hand is raised and has held a hammer (?) ;
he has rich curly hair and beard, and wears a chlamys over his arms, passing
behind his back.
Ht. 4^ in. Comarmond Coll., 185 1. Well modelled and in fine condition ; head of the
Otricoli type.
792. Apollo (?). He stands on r. leg, looking to his r. ; his r. hand is extended, Plate
and in 1. he has probably held a bow. He is nude and beardless, the hair XXII.
coarsely treated and falling in straight masses. This figure is probably a
provincial copy of some fine Greek model, and recalls in some measure the
Apollo Belvedere,
Ht. 8 in. 1894. From the Wills Sale ; said to be from Bologna. Reinach, Repertoire,
ii. p. 82, No. 7. Fine patina. Right fore-arm broken off. Gallo-Roman workmanship ; cast
solid.
793. Aphrodite. She stands on r. leg, with r. hand extended and 1. placed
before pitbes ; she wears a sphendont, and her hair is waved and knotted at the
nape of the neck, with a tress falling over each shoulder.
Ht. 7 in. Found at Vaison, France. Comarmond Coll., 185 1. Bernoulli, Aphrodite,
p. 218, No. 14 or 15. Right hand lost.
794. Aphrodite. She stands on 1. leg, with r. hand on 1. breast and 1. hand on
pubes ; her hair is rolled round a sphendone, with a large curl twisted up on each
side of the head, the rest gathered behind and falling in tresses down the back
and shoulders ; she wears also a necklace.
Ht. 6\ in. Comarmond Coll., 185 1. Ancient crescent-shaped base. The sphendone
appears to have been gilt.
795. Aphrodite. Stands on 1. leg, with r. hand on breast and 1. over pubes ; she
wears a necklace and gilt sphendone, round which the hair is rolled, with a large
curl on each side twisted up, gathered behind and falling in tresses down the
back and shoulders.
Ht. 6| in. Comarmond Coll., 185 1. Ancient crescent-shaped base.
[These three examples are varieties of the type of the Cnidian Aphrodite of Praxiteles.]
796. Eros (standing type, with attributes, see Nos. 1125-1143). He moves
forward with r. foot advanced, looking round to his r. ; his 1. hand is held up,
and with r. hand he reaches to his quiver behind his back (?) ; his hair falls in
thick curls on either side, with a plait along the top of the head.
Ht. 3 in. Comarmond Coll., 185 1. Left foot lost ; patina.
144 CATALOGUE OF BRONZES.
797. Eros (type as before). He stands on r. leg, with 1. leg bent and raised from
the ground, almost as if flying ; 1. arm bent and hand advanced, the fingers
being bent as if they had held some object ; r. arm and fingers of hand also
bent ; hair rolled up round the head, with a plait along the top.
Ht. 5f in. Found at Annecy, Savoy. Comarmond Coll., 185 1. Good patina. The wings
are too small for the body.
798. Mars (Ares). He stands on r. leg, with 1. foot slightly advanced, and is Plate
fully armed ; he has rough curly hair and beard, and the eyes have been inlaid XXIII.
with silver. His r. hand is raised, and has held a spear ; the 1. has rested on a
shield, now lost. He wears a Corinthian helmet and cuirass, both richly
ornamented, short sleeved chiton, greaves, and boots (caligae). His helmet is
surmounted by a Sphinx ; on each side a Gryphon crouches ; the cheek-pieces
are ornamented with two ram's heads confronted, and the visor forms a mask ;
the Sphinx has long curls and wings recurved. On the front of the cuirass is
a silver Gorgoneion, surrounded by bronze snakes ; below is a flower with
tendrils springing from a calyx at the base of the cuirass, flanked by two
Gryphons, each with a fore-paw raised ; on the shoulder-straps are winged
thunderbolts, and at the sides of the cuirass are hinges. Below the cuirass is
a double row of tile-shaped straps, below which are longer straps terminating in
fringes ; the upper row is ornamented with silver studs, and the second has
been inlaid alternately with silver and red enamel. The greaves are fastened
down the back by cross-straps inlaid with red enamel, and on each knee is a
large silver stud ; the boots leave the toes bare, and are fastened by straps
attached to a double row of studs ; the leather over the heels is stippled.
Ht. 11 in. Found near the Rhine. Castellani, 1873. Murray, Greek Bronzes (Port-
folio, April, 1898), p. 95 , Reinach, Repertoire, ii. p. 189, No. 7. Right hand broken off. This
bronze is probably not earlier than the third century after Christ, and is coarse and exaggerated
in style ; it is in fine condition, and a good specimen of provincial Roman work.
799. Apollo. He stands on r. foot, with 1. foot drawn back ; he has thick curly Plate
hair arranged in two rows round the face, and chlamys on 1. arm, fastened with XXIV.
a brooch on 1. shoulder ; he looks to his 1., and his r. arm is raised, having held
some object ; his 1. hand has also held some object, but is restored, together with
the chlamys.
Ht. b\ in. From Orange, France. Norzi Coll., 1877. The attitude somewhat recalls the
Apollo Belvedere ; it is probably a copy of some fourth century original.
800. Head of Apollo. He wears a laurel-wreath tied at the back ; mouth
slightly open.
Ht. \\ in. Found at Apt, Vaucluse, France, 1874. Presented by Sir John Evans, K.C.B.,
1879. Eight brown colour ; provincial Roman work.
801. Hermes. He stands on r. leg, the body thrown awkwardly back on the
heels ; in r. hand he holds out a purse, and the 1. has held a caduceus. lie wears
a winged petasos, endromides, and chlamys hanging from 1. shoulder.
Jit. 4', in. From Lyons. Comarmond Coll., 185 1. Very barbaric j fingers of left hand
broken off.
GALLO-ROMAN BRONZES. 1 45
802. Hermes (?). He stands on r. leg, looking up to his r., holding out a purse
in r. hand, stippled with spots ; in I. a winged caduceus, with a band wound
round the handle ; the band and the snakes are stippled. On his head are wings
and a laurel-wreath ; he has curly hair, and wears a chlamys wrapped round 1.
arm, fastened with a brooch on r. shoulder. The features present some likeness
to the Emperor Claudius, who may be here represented in the character of
Hermes or Mercury.
Ht. 4| in. From Lyons. Comarmond Coll., 185 1. Patina.
803. Hermes. He stands on r. leg, looking to his r., and leaning his body over
to 1. in the Praxitelean manner ; he holds out a purse in r. hand, and in 1. is
part of a caduceus. He wears a fillet, and a chlamys over 1. arm ; on his head
are small wings, and between them is a spike.
Ht. 6j in. From Vaison, France. Comarmond Coll., 185 1. Right foot restored.
804. Hermes. Stands on r. leg, looking to his r., his body inclining to the 1. as
last ; he has a chlamys twisted round 1. arm, and holds a purse in r. hand:
Ht. 3! in. Comarmond Coll., 185 1. Barbaric work; left hand broken off. On the
head, two holes for wings.
805. Hermes. Stands on r. leg, looking to his r., holding out a purse in r. hand ;
body inclining to 1. as before. He wears a winged petasos (wings broken off),
and chlamys twisted over 1. arm ; his hair is arranged in two rows of curls, and
his 1. hand has held a caduceus.
Ht. 5 in. From Lyons. Comarmond Coll., 1851. Feet restored ; rude work.
806. Hermes seated on a rock, with r. leg drawn up and 1. foot advanced ;
his r. hand holds a purse and rests on r. thigh ; his 1. has held up some object.
His hair is arranged in close curls, and on his head are wings ; at his r. side is
a cock, at his 1. a sheep or goat crouching ; a tortoise crawls in front of his 1.
foot.
Ht. 3$ in. Found near St. Didier, France. Payne Knight Coll.
807. Dionysos. He stands on r. leg, holding out a vine-leaf in r. hand ; in 1. a
bunch of grapes and a vine-leaf. He is beardless, with hair in parallel waves
and chlamys round 1. arm fastened with a brooch on the shoulder.
Ht. \\ in. From Aps, Dept. of Ardeche, France. Comarmond Coll., 185 1. The figure
has served as the ornament of a bolt-socket with oblong openings at intervals ; very barbaric
work.
808. Dionysos. He stands on r. leg. with 1. foot drawn back, looking to his r. ; Plate
he holds up 1. hand, and in r. he holds a large cantharos* (fluted body) by one XXII.
handle. His hair is waved each side and gathered into a knot at the back, and
* The form has degenerated into that of an amphora with scroll-handles (cf. Brit. Mus. Cat. of Vases,
v. F 340).
L
146 CATALOGUE OF BRONZES.
he is nude and beardless ; his 1. hand probably held a thyrsos. The pupils of
the eyes are incised.
Ht. 8£in. From Chessy, Dept. of Rhone, France. Comarmond Coll., 1851. Murray,
Greek Bronzes, p. 89; Reinach, Repertoire, ii. p. 113, No. 2. In perfect condition ; very fine
patina. Excellent workmanship.
809. Seilenos, broken away at the knees. His head is slightly inclined forward Plate XXI.
to r., and his 1. hand is raised, with upturned palm, having probably supported a
basket or dish ; in r. hand he holds a horn (?) by his side. He is bald, and wears
a chiton with short sleeves, which has slipped off the r. shoulder ; a himation is
twisted round his loins.
Ht. 4 in. From Aix, Dept. Bouches-du-Rhone. Comarmond Coll., 1851. Reinach,
Repertoire, ii. p. 52, No. 6.
810. Satyr, upper part of; the body is worked in relief, and rests on the
calyx of a flower. He looks to his 1., and holds a syrinx in r. hand ; in 1. he
grasps the fore-feet of a kid, which he carries over 1. shoulder. He has rough
hair and a slight beard, and wears a goat-skin over 1. shoulder ; below his chin
is the small projecting wattle characteristic of Satyrs.
Ht. 5^ in. From Vienne, France. Comarmond Coll., 185 1. Head of kid lost. Has
formed an ornament of a piece of furniture ; coarsely executed, but forcible in expression.
811. Demeter. She stands on 1. leg, looking down to her 1., and holds out in
r. hand a phiale mesomphalos, within which are a fruit and two laurel-leaves ; her
hair is parted and waved, and she wears a spliendonc, long girt chiton, himation
veiling her head, gathered up over 1. arm, and shoes.
Ht. 8J in. Found at Dijon, 1835. Comarmond Coll., 185 1. Reinach, Repertoire, ii.
p. 659, No. 6.
812. Tellus reclining. She holds a patera in r. hand resting on r. knee, and in 1.
a cornucopia ; her hair is parted and waved each side, and gathered in a knot at
the back, and she wears a sphendone, long chiton, and himation over lower limbs.
Ht. 1 1 in. Length 2= in. Comarmond Coll., 185 1. Very coarse ; much corroded.
813. Two Months personified. On the 1. is a beardless male figure leaning Plate XXI.
over to his r. and squeezing in both hands a bunch of grapes ; he has long hair
and wears a himation over r. shoulder, covering lower limbs. The other is attired
as a vine-dresser, with a pruning-hook in r. hand resting on r. shoulder ; his 1.
hand has also held some object. He is beardless, and stands on 1. leg ; he
wears a garment of skin fastened on r. shoulder and hanging down to the knees.
Ht. 2\ in. ; with ancient base, 3 in. From Nismes. Comarmond Coll., 1851. Reinach,
Repertoire, ii. p. 518, No. 5. Very rude and much worn ; unfinished at the back. The base is
in the shape of a square altar, and has been attached to a piece of furniture.
814. Dying Gaul. He is seated with both legs extended to his r., the r. crossed
over the 1. ; his head is inclined on his r. shoulder, and his r. hand is placed in
GALLO-ROMAN BRONZES. I 47
front of his breast. He is beardless, and has straight coarse hair ; on his face
is an expression of pain. He has supported himself on 1. hand.
Ht. l| in. Length 3! in. Blacas Coll., 1867. Jahrbuch, i. (1886), p. 85; Reinach,
Repertoire, ii. p. 200, No. 4 ; Brunn in Meyer's Allgem. Kunstl.-Lex. ii. p. 106. This figure
recalls the Pergamene statues placed by Attalus on the Acropolis at Athens, as for instance
that published in Mon. deW Inst. ix. pi. 20, 4 ; it also recalls the Dying Gaul of the Capitol.
Left hand lost ; the right has been represented drawing the spear from a wound.
815. Dying Gaul. He is fallen back with 1. leg bent under r. ; he lies on 1. side,
looking to his r., r. hand on 1. thigh. He has thick hair and is beardless, and
wears close-fitting drawers ; on his 1. arm is an oval shield of Gaulish type with
incised patterns.
Length a,\ in. Arch. Zcit. 1873, p. 60 ; Jahrbuch, i. (1886), p. 86 ; Reinach, Rebertoire,
ii. p. 200, No. 1. Very flat ; almost a relief. As the last, a replica of a Pergamene statue.
816. Dying Barbarian Woman (or Amazon ?). She lies on her back, with 1.
leg drawn up and r. extended, r. hand on hip, and 1. in front of body ; she has
an expression of pain, and wears a short girt sleeved chiton and bracae.
Length 3^ in. Arch. Zelt. 1873, p. 60 ; Jahrbuch, i. (1886), p. 86, andviii. (1893), p. 127 ;
Habich, Die Amazoneugruppe, p. 58 ; Brunn in Meyer's Allgem. Kitnstl.-Lex. ii. p. 106. Very
flat and much worn. Has been attached to some object as an ornament, perhaps for the
breast of a horse, cf. Labus, A/us. Bresc. pi. 53. This figure is also to be traced to a Pergamene
original ; the pathos characteristic of that school of sculpture is here well illustrated.
817. Wounded Gaul. He kneels on r. knee, looking up to his 1., with r. hand
extended ; he is bearded, with long hair fastened in a top-knot, and bracae ; on
his 1. arm is an irregularly-shaped Gaulish shield.
Ht. 2| in. Presented by General Meyrick, 1878. Reinach, Repertoire, ii. p. 199, No. 4.
818. Gaulish Prisoner. He stands with r. foot drawn back and hands tied Pla^e XXI.
behind, looking up to his 1. ; he is bearded, and his hair is tied in a top-knot on
the crown ; he wears bracae incised with a diaper pattern.
Ht. 2J in. Ancient base. Reinach, Repertoire, ii. p. 198, No. 7.
819. Gaulish Woman. She squats with both legs doubled up, looking up to Platj: XXI
her ]., with r. hand on her r. ankle ; she wears a tore and bracelets.
Ht. i\ in. From France. Murray, Greek Bronzes, p. 5 ; Reinach, Repertoire, ii. p. 200,
No. 3 ; Revue Archeol. xi. (1888), p. 19. Rough work ; ancient base.
820. Grotesque figure squatting. His 1. leg is bent under him, and r. doubled
up, the r. foot resting on the 1. ankle ; his head is inclined to n, and rests on r.
hand, which is placed on r. knee ; 1. hand on 1. thigh. He is beardless, with long
curly hair, and his eyes are closed, as if asleep ; his face has an expression of
melancholy.
Ht. 1 1 in. From Vaison, France. Comarmond Coll., 185 1.
L 2
I48 CATALOGUE OF BRONZES.
821. Barbarian Warrior. The figure is slightly bearded, and wears a chlamys Plate
fastened with a brooch on the r. shoulder, a close-fitting coat of mail and cuirass, XXII.
under which is a short chiton with vandyked edge and flaps ; he also has bracae
reaching to the knees, and sandals.
Ht. 8 1 in. Pulsky Coll., 1868 {Cat. No. 204). Murray, Greek Bronzes, p. 99 ; Reinach,
Repertoire, ii. p. 196, No. 2 ; Mansell, Brit. Mits. Photographs, No. 877, 2. Hollow behind ;
the arms are lost. The face resembles that of Antoninus Pius, but the figure probably
represents some barbarian king contemporary with that Emperor.
822. Female Bust, with cylindrical attachment at the back ; wears twisted
fillet ornamented with rosettes, and chiton ornamented with two flowers ; holds
out a flower in each hand. Probably attached to an armchair.
Ht. 3^ in. Found in the Saone near Lyons, 1834. Comarmond Coll., 185 1.
823. Jar, ornamented with designs in relief: In the background a curtain is
represented in four festoons, partly in relief, partly incised with patterns of
tendrils, etc, ending at two points in flowers. In the middle of each festoon is
the figure of a boy to the front in high relief: (1) with curls and short loose
chiton, holding sacrificial knife in r. hand and a pine-cone \J) in 1. over an altar ;
(2) in short girt sleeved chiton and garment over back of head, holding a whip (?)
in r. hand and in 1. a bladder ; (3) girdle tied round waist, holding up fruit in r.
hand and in 1. a ball or cake (?) ; (4) with curls and cross-belt over 1. shoulder,
holding a small knife (?) in r. hand and a large flower (?) in 1.
Ht. 3? in. From Pont de Veyle, Dept. of Ain, France. Comarmond Coll., 1851. Shape
as No. 871. Probably of provincial manufacture.
824. Jug. On the handle, above, an acanthus plant, and goat's heads extending
along the lip ; below are Dionysiac emblems : a goat seated to r., with face to
the front ; on the 1., a plant ; a cista resting on a wicker basket ; a mask to r. ; a
pedum and two vases (?). At the lower junction is a mask of the youthful
Dionysos with thick hair drawn back from the face ; below, a goat-skin with
head and horns, spread out.
Ht. nf in. Comarmond Coll., 1851. Yellow patina.
II. SELECT GRAECO-ROMAN BRONZES (825-908).
A. STATUETTES, BUSTS, AND RELIEFS (825-863).
825. Hermes. He has rich closely-curling hair and delicate features, the eyes Plate
having been inlaid with silver ; he is beardless, and wears a chlamys (restored) XXIV.
fastened with a gold stud on 1. shoulder, sandals, round his neck the Gaulish tore
in twisted gold. In r. hand he holds a purse ; in 1. has been a caduccus. The
base is original, and is ornamented with a palmette-pattern in silver. The
figure is remarkable for elaborate finish and delicacy, especially about the hair
and features, and is considered one of the finest specimens of Roman art in
GRAECO-ROMAN BRONZES. I 49
bronze. It probably dates from the period between Augustus and the
Antonines, but may be derived from an original of the time of Lysippos.
Ht. 6 in. ; with the base, 8 in. Found in 1732 at Pierre-en-Luiset near Huis, in France.
Payne Knight Coll. (lx. 4). Caylus, Rccueil, vii. p. 268, pi. 76 ; Spec. Ant. Sculpt, i. pis. 33, 34 ;
Braun, Kunstmythologie, pi. 96; Clarac, Muse'e de Sculpt, iv. pi. 666, No. 1515 ; Miillcr-
Wieseler, Denkm. d. a. Kunst, ii. pi. 29, fig. 314; Murray, Greek Bronzes {Portfolio, April,
1898), p. 47; Reinach, Repertoire, ii. p. 159, No. 10; Allien. Mittheil. iii. (1878), p. 99;
Michaelis, Ancient Marbles in Gt. Britain, p. 121 ; Mansell, Brit. Mus. Photographs, No. 872;
Furtwaengler, Meisterwerke, p. 427 (refers the type to Polycleitos) ; id. English edn. ii. p. 232;
Quarterly Review, Jan. 1895, p. 82 (the reviewer points out that the character of the bronze is
Lysippian rather than Polycleitan) ; Bull, de Corr. Hell. xvi. (1892), p. 167; Boettiger,
Amalthea, iii. p. 415 ; Jahrb. d. Vereins v. Altertumsfr. im Rheinl. xc. p. 58 ; Vaux, Handbook
to Brit. Mus. p. 426. Of the finding of this bronze and its subsequent history a long account is
given by Payne Knight in his MS. Catalogue (see the Introduction).
826. Boy playing Morra. He stands as if starting back to 1., with r. foot
extended, 1. hand raised, and r. behind his back ; his hair is curled at the neck,
and gathered into a broad plait passing over the crown and fastened with a
brooch at each end ; at the back each strand of the plait is separately tied. The
eyes have been inlaid. The fact that he holds up his 1. hand with an animated
gesture while the r. is concealed behind his back suggests that the figure belongs
to a group of two boys playing the game of morra, anciently known as micare
digitis (cf. Becq de Fouquieres, Les Jeux des Auciens, p. 290). In the arrange-
ment of the hair and character of the head, this figure has much in common with
the usual type of Eros ; but as the wings are wanting, it is more likely to
represent Ganymede playing with Eros (cf. Apoll. Rhod. iii. 117).
Ht. 2 ft. 6| in. Foggia, 1869; acquired from M. Piot. Journ. Hell. Stud, xviii. p. 131 ;
Reinach, Repertoire, ii. p. 443, No. 1. Probably of local execution. In fine condition.
827. Heracles beside the tree of the Hesperides : He stands with r. leg drawn
back, holding the golden apples in 1. hand ; he is nude and beardless, with curly
hair and whiskers ; the eyes have been inlaid with silver, and his r. hand has
held a club. Behind him is the tree, with branches and fruit, round which is
twined the recently-slain serpent, the head hanging down in a lifeless manner,
as described in Apoll. Rhod. (iv. 1400). There are traces of the lion's skin
having been slung over Heracles' r. arm.
Ht. of the figure, 2 ft. 6| in.; of the whole bronze, including the base, which is ancient,
3 ft. 5f in. Found in 1775 in the ruins of a temple at Gebail, the ancient Byblus, and sent to
England in 1779 by Dr. Svvinney, Chaplain to the Factory at Constantinople. Towneley Coll.
Spec. Ant. Sculpt, ii. pi. 29 ; Museum Marbles, iii. pi. 2 ; Elli«, Towneley Gallery, i. p. 272 ;
Clarac, Muse'e de Sculpt, v. pi. 785, 1966 ; Welcker, Alte Denkm. v. p. 80 ; Murray, Hist, of
Gk. Sculpture1, ii. p. 394; cf. Michaelis, Ancient Marbles in Gt. Britain, p. 113, and Edwards,
Lives of Founders of Brit. Mus. i. p. 378. Prints by Thornthwaite and Skelton. Cf. for the
subject, Suidas, s.v. 'Hpa/cX^? ; a similar figure in Man. dell' Inst. viii. pi. 50 ; the type cor-
responds with the Tyrian Hercules on the coins of Thasos (cf. Brit. Mus. Cat. of Coins of
Thrace, etc., p. 222). The figure belongs to a late period of Graeco- Roman art. A leaflet
issued on the arrival of the statue mentions two Greek inscriptions on lead, discovered with it.
The lion's skin was extant but separate ; the club was found, but has been lost.
I50 CATALOGUE OF BRONZES.
828. Apollo. A life-size statue, nude and beardless, with curly hair and fillet,
r. hand slightly extended, 1. hand by side, and 1. leg drawn back ; in r. hand he
may have held a laurel-branch or other object. The eyes have been inlaid, and
the curls of hair are worked separately and attached.
Ht. 5 ft. 3 in. From Zifteh in the Delta of Egypt. Formerly in the collection of
M. Mimaut ; acquired 1840. Brit. Mies. Marbles, xi. pi. 33 ; Clarac, Musie de Sculpt, iii.
pi. 482 C, No. 929 B ; A?in. deW Inst. 1883, p. 141 ; Furtwaengler, Meisterwerke d. gr. Plastik,
p. 585 (attributes it to an original by Euphranor) ; id. English ed. ii. p. 352 ; Michaelis,
Ancient Marbles in Gt. Britain, p. 167. Hellenistic work of first century B.C., under Egyptian
influence. The form of the body is like that of Dionysos ; for the attitude, cf. a bronze in Coll.
Sabouroff, i. pis. 8-1 1. Feet restored.
829. Aphrodite adjusting her sandal. Her hair is gathered in a knot at the
nape of the neck, with a tress over each shoulder ; she wears a high perforated
sphendone, sandals, and drapery wrapped round her arms and floating behind
so as to form a sort of canopy over her head. She stands on r. leg, with body
inclined forward, adjusting the sandal with r. hand on the 1. foot, which she
holds up, supporting herself with 1. hand resting on a frame-work at her side,
and holding in it an apple. On the top of this frame-work are two Erotes
to the front, side by side ; they have curly hair with top-knots, and the one
on the 1. holds a mirror in r. hand and in 1. a patera, or perhaps the half of
the bivalve-shell known as /crels ; the other raises r. hand behind his head to
draw an arrow from his quiver, his 1. hand being broken off. At the back of the
frame-work is a large steering-oar resting on the handle, round which a dolphin
is twisted, head downwards ; in front are various Pantheistic emblems, as
follows : Two cornucopiae, one supporting each Eros ; a pair of cymbals ; a
mirror and stephan} (for Aphrodite) and a torch (for Hecate) ; a syrinx (for
Pan) ; a hammer (for Hephaestos) ; a tambourine (for Dionysos) ; a bow and
quiver (for Apollo and Artemis) ; a club (for Heracles). In front of these
emblems has stood the eagle of Zeus, of which only the feet now remain ;
at the corresponding angle has been some other object.
Ht. ,\ in. ; with base, 9J in. Acquired from Millingen, 1841. Millingen, Trans. Roy.
Soc. Lit. 2nd Ser. i. p. 62 ; Gerhard, Gesammelte Akad. Abhandl. i. p. 259, ii. p. 559, and
jl. 55, fig. 3 ; Reinach, Repertoire, ii. p. 347, No. 5 ; Arch. Zcit. 1844, p. 311 ; Potier and
Keinach, Nccropolc de Myrina, i. p. 286, no. 16 ; Bernoulli, Aphrodite, p. 332, no. 19 ; Bull,
deir Inst. 1844, p. 34. Right leg of Aphrodite injured. Ancient base, with steps in front,
suggestive of a temple. The figure is identified by Millingen as Urania.
830. Prow of Ship {irpoenfioXiov), with figure-head in the form of a bust of
Rome, wearing helmet and aegis on which the scales and winged Gorgoneion
are indicated ; the background forming a medallion, in which the two sides of
the ship meet.
Ht. l8£ in. ; length, 22* in. ; width, 17!. in. Dredged up in the outer bay at Prevesa (the
ancient Actium) ; acquired by Sir Howard Douglas, Lord High Commissioner of the Ionian
Islands, 1839. Presented by H.M. the Oueen, 1872. Trans. Roy. Soc. Lit. 2nd Ser, i. p. 246 ;
Arch. Zeit. 1872, pi. 62, fig. 3, pp. 49, 105 ; Torr, Ancient Ships, pi. 8, fig. 41, p. 66 ; Schreiber-
Andcrson, Atlas of Class. Antiqs. pi. 47, fig. 7 ; Academy, 1873, p. 46. Probably dates from
the time of the battle of Actium. One side much broken.
(IKAECO-ROMAN BRONZES. 1 5 I
831. Bust of Nero (?). lie is represented as a youth, and wears a laurel-wreath,
the ends of which fall on his shoulders ; he looks slightly to the r., and his
shoulders are draped. The pupils of the eyes are pierced for inlaying.
Ht. 6} in. Presented by W. T. Belt, Esq., 1883. Much worn and corroded.
832. Head of Claudius, used as a weight. The eyes have been inlaid ; on the
head is a twisted handle for lifting the weight.
Ht. 7l in. Hertz Coll., 1859 {Sale Cat. 579). Mansell, Brit. Mus. Pkotograpks,
No. 881 ; Bernoulli, Rom. Ikonogr. ii. pt. 1, p. 341, No. 40. The head is set on a modern bust
of Oriental alabaster, the drapery fastened with an onyx. Surface split and corroded.
833. Bust of Otho.
Ht. 5 j in. Hertz Coll., 1859. Arch. Zcit. 1851, Anseigcr, p. 117; Bernoulli, Rom.
Ikonogr. ii. pt. 3, p. 54, No. 49, identifies this bust with Caracalla.
834. Bust of Aelius Caesar. He has a slight beard and moustache, and drapery
fastened on 1. shoulder ; the eyes are inlaid with silver, the pupils being formed
of garnets.
Ht. 7| in. Castellani, 1873. Newton, Castcllani Coll. pi. 6. Fine green patina.
835. Bust of Lucius Verus.
Ht. 10 in. Blacas Coll., 1867. Mansell, Brit. Mus. Photographs, No. 883; and see
Bernoulli, Rom. Ikonogr. ii. pt. 2, p. 138, where this bust appears to be confused with the
preceding one.
836. Group of Marcus Aurelius and Faustina the Younger, resting on a
bracket. Their right hands are clasped, and Faustina turns towards her husband,
holding up her 1. hand. He is beardless, and wears a chlamys over 1. arm and
shoulders, and boots ; in his 1. hand is a club (?) resting on the ground ; she
wears a long chiton and himation veiling her head.
Ht. iof in.; the figures only, 5J- in. Egypt, 1878. Bernoulli, Rom. Ikonogr. ii. 2,
p. 177 ; Arch. Zcit. 1879, p. 102. The occasion appears to be either the marriage of
M. Aurelius to Faustina, or his adoption into the family of Antoninus Pius. The bronze is much
corroded.
837. Marcus Aurelius wearing a triumphal crown. He stands with r. foot Plate
on a stone and 1. heel raised from the ground, holding a short staff in r. hand ; he XXVI.
has curly hair and beard, and wears a fillet and a high crown of laurel tied with a
sash, the ends of which hang down, a himation over lower limbs and 1. shoulder,
and sandals ; his 1. hand is placed on his side.
Ht. 4! in.
838. Bust of Septimius Severus. Laureated ; double-pointed beard ; chlamys Plate
fastened on r. shoulder with brooch. Hollow behind. XXVI.
Ht. 4 J in. Castellani, 1873; formerly in Hertz Coll. (?). Arch. Zcit. 185 1, Anzeiger,
p. 117 ; Bernoulli, Rom. Ikonogr. ii. pt. 3, p. 28, No. S3<z. For the type, see Baumeister,
Dcnkmdlcr, iii. p. 1655, fig. 17 19.
152
CATALOGUE OF BRONZES.
839. Relief representing the Emperor Commodus on horseback, or perhaps Plate
' Alexander on Bucephalus. He urges his horse at full speed, the r. arm having XXVI.
been drawn back as if aiming a spear ; he is beardless and bare-headed, and
wears an ornamented cuirass, short tunic, and caligae. His cloak (the paluda-
mentum) flies behind him ; he is seated on a saddle-cloth, under which a girth
passes under the horse's belly at right angles to another round his chest and
crupper. The group is executed with much spirit, and nearly in the round ; it
has probably been applied to some object as an ornament.
Ht. 4I in. From Rome. Castellani, 1867. Bernoulli, Rom. Ikonogr. ii. pt. 2, p. 236 ;
Mansell, Brit. Mits. Photographs, No. 877, fig- I- The right arm of the Emperor and right
hind-leg of the horse are lost.
840. Bust of Emperor (?). He looks to his r. ; he is beardless, and has drapery
over 1. shoulder, and a radiated diadem, the points of which are broken.
Ht. 2| in. 185 1. Patina.
841. Bust of Emperor. He has curly hair, neat beard and moustache ; and
drapery over shoulders.
Ht. 1 1 in. Possibly the Emperor Commodus.
842. Bust of Empress. She looks down to r. ; she has drapery fastened with a
brooch on r. shoulder, and her hair is tied in a top-knot over the forehead and
with a fillet in a knot at the back, with two tresses falling in front on the neck ;
the ends of the fillet hang down behind.
Ht. if in.
843. Bust of Roman Lady. Her hair is drawn back in parallel tresses to the
back of the head, where they are wound in a knot, from which two long plaits
are brought forward round the head and fastened with a brooch over the fore-
head ; she wears earrings, and a chiton with looped-up sleeves. The arrange-
ment of the hair is characteristic of the Augustan or Flavian epoch.
Ht. 7 1 in. Comarmond Coll., 1851 ; brought from Florence.
844. Bust of Roman Lady. She looks to r. ; on her shoulders is a loose garment
held up by bands which pass over the shoulder and cross at the back. Her hair
is rolled up at the sides over a sphendonk, the rest being gathered in parallel rolls
under a net, with two horn-like projections at the back ; the arrangement some-
what resembles that of Marciana or Matidia.
Ht. y§ in. A rude Gorgoneion is attached to the base.
845. Bust of Antinous, forming a vase. He looks to his 1. ; his hair is arranged
in clustering curls, and he wears a necklace with pendant, and the fawn's skin
of Bacchus over 1. shoulder, the head and one foot being shown.
Ht. 7'2 in. Blacas Coll., 1867. On either side is a ring in which the handle has been
inserted, and at the buck has been the hinge of a lid.
GRAECO-ROMAN BRONZES. I 53
846. Bust of Antinous in repousse relief. His hair is arranged in curls round
his face, and he wears a necklace with pendant, fawn's skin as last, and bordered
chiton fastened with a brooch on 1. shoulder.
Ht. 6J in. From Magna Graecia. Below the bust is a base with engrailed moulding in
front, representing the calyx of a flower out of which the bust rises, and two holes for attach-
ment ; on either tide is a large volute-pattern.
847. Iconic Male Head, life-size, probably of a poet. The hair falls in smooth
curling waves from under a fillet ; beard and moustache. The eyes are hollow.
It was formerly considered to represent Homer, and has since been conjectured
to be Pindar or Sophocles, but it does not resemble the extant portraits of the
latter ; for the latest discussion, see Bernoulli in Jahrbuch, xi. (1896), p. 172.
Ht. 1 if in. Brought from Constantinople at the beginning of the seventeenth century for
the Arundel Collection ; afterwards in the possession of Dr. Mead (from 1721 to 1753), and the
Earl of Exeter, by whom it was presented to the Museum in 1760. Mus. Marbles, ii. pi. 39 ;
Mon. deW Inst. iii. pi. 33, and An?i. 1841, p. 309, 1846, p. 144 ; Ellis, Tozutieley Gallery, i. p. 347 ;
Jahrbuch, xi. (1896), pi. 1, p. 172 ; Michaelis, And. Marbles in Gt. Britain, pp. 26, 32, 50, 93 ;
cf. Walpole, Anecdotes of Painting, i. p. 297. Surface in excellent condition ; very fine dark
patina. For the history of this head, see the Introduction.
848. Seated Philosopher. The right hand supports the head, which is inclined
forward, and the r. elbow rests on the 1. hand ; he is beardless, and wears sandals
and a large himation over 1. shoulder, in which his 1. arm is muffled, leaving the
r. arm and side bare ; his r. leg is crossed over his 1., and feet stretched out.
The attitude is easy and natural, and the whole treatment broad and effective ;
the face is earnest and reflective. Cf. a marble statue at Petworth (Spec. Ant.
Sculpt, ii. pis. 7, 8).
Ht. 20 in. Said to have been found in dredging the harbour at Brindisi. Castellani,
1865. Encycl. Brit? ii. p. 365 ; Michaelis, Ancient Marbles in Gt. Britain, p. 608. The seat
is lost, and there are holes in the back and 1. shoulder.
849. Philosopher (?), probably a portrait. He is seated on a folding-stool, and is Plate
bearded, and wears chiton and himation ; his 1. leg is raised, and he holds an XXVI.
open book in 1. hand. Under the 1. foot has been a footstool. The hair and
beard are coarsely treated, and the features of a late type ; it is probably not
earlier than the sixth century of our era.
Ht. with ancient base, 5| in. From Asia Minor, 1891. Reinach, Repertoire, ii. p. 630,
No. 2 ; Class. Review, v. (1891), p. 241. Right arm lost. Cf. the portraits of Dioscorides
(Visconti, Iconogr. Grecqtie, i. pis. 35, fig. 2, and 36). A spike is attached to the base for
insertion in a socket, but it is not clear what object the figure formed part of.
850. Head of Boy, probably a portrait, but may be meant for Eros or a Genius.
The front hair is tied up in a knot over the forehead, the rest lies in flat curls ;
the eyes are hollow. Roman period.
Ht. 10 in. Pourtales Coll., 1865 {Cat. No. 682). Mansell, Brit. Mus. Photographs,
No. 879. Bust restored.
154 CATALOGUE OF BRONZES.
851. Male Figure, probably a portrait. He stands with r. arm on hip and 1. Plate
hand wrapped in a himation which passes over 1. arm, and is gathered round the XXVIII.
waist ; he is bearded, and wears a fillet twisted round his head.
Ht. 5 1 in. From the Greek Archipelago. Castellani, 1873. Encycl. Brit? vi. p. 454. In
good style, perhaps copied from a Greek original.
852. Bust of Mendicant Egyptian Priest (dyupr>]s). He is bald, with the ex-
ception of a double lock of hair falling over the r. ear ; on his shoulders is
drapery, and the eyes are inlaid with silver and jewels.
Ht. 7 in. Payne Knight Coll. (lxx. 4). Visconti, Mus. Pio-Clem. iii. pi. b. iv., figs. 6 and 7.
In the top of the head is a large hole through which offerings were placed in the head, which
was used as a sort of money-box (see Visconti, op. cit. pp. 64 and 267). The right side of the
face is smaller than the other, as if to indicate paralysis or some deformity, such as was often
considered appropriate for a priest of this kind (cf. Persius, v. 186, lusca sacerdos).
853. Group of Wrestlers. One wrestler, who is nude and beardless, with long Plate
hair combed straight back from the forehead and Egyptian style of features, XXVII.
stands over the other and grasps his r. wrist in 1. hand ; he places his r. hand on
the other's head, and r. foot on his r. leg, their 1. legs being intertwined. The
second wrestler kneels on r. knee, supporting himself on his 1. hand ; he is nude
and beardless, with short hair and Roman features ; his face wears an expression
of agony. The group is mounted on a high moulded pedestal, which is ancient.
Ht. 5fin. From Egypt, 1891. Class. Review, v. (1891), p. 241. Late Egypto-Roman
style. The group appears to be derived from some well-known original ; cf. the syi/iplegma
nobile of Heliodorus (Pliny, H. N. xxxvi. 35), and another symplcgma, probably of athletes, by
Kephisodotos {ibid. § 24). Similar bronze groups in the Museums at Florence and St. Peters-
burg (see Stephani, Comp/e-Rendu, 1867, pi. i. tig. 1, p. 7 ff.).
854. Female Head. The hair is waved each side under a sphendont with
chevron patterns inlaid in silver, and gathered in a large knot at the nape of
the neck bound round with a broad fillet. The fillet is ornamented with rosettes
in silver, and passes round the head ; a broad band with rosettes between two
borders of wave-pattern, all in silver, passes over the head from front to back.
The eyes have also been inlaid with silver.
Ht. 1 J in. From Rome. Castellani, 1873.
855. Left Leg of running Hermes. The leg is broken off at the hip from a
statuette ; he wears a sandal tied at the instep, with wings attached on either
side of the ankle.
Ht. 4J in. Payne Knight Coll. Well modelled ; perhaps fourth cent. B.C.
856. Disk with relief, representing Hermes making a lyre : Hermes is seated on
a rock to 1., with r. foot raised on a rock ; he wears a fillet of silver, chlamys
floating behind, and winged sandals (the wings bordered with silver), and at his
back is slung a petasos, round which is a silver band ; he holds out the lyre in 1.
hand on his r. knee. Before him is an altar or pedestal on which is seated a
GRAECO-ROMAX BRONZES.
*55
Sphinx to r. ; by the side of the altar is a lyre ; the strings of each lyre are inlaid
in silver. Behind Hermes is a tree, from the branches of which hangs drapery.
Diam. 4i in. Blacas Coll., 1867. Blue-green patina. Hermes' left arm is injured.
Muller-Wieseler, Dcnkm. d. a. Kunst, ii. pi. 29, fig. 326, and see 1877 ed. ii. p. 494 ; Mazois,
Pompeii, ii. p. 2, vignette.
857. Disk with relief. Heracles disarmed by Erotes : Heracles is nude and
bearded, and his eyes have been inlaid in silver ; he reclines on the ground
looking to 1., supporting himself on 1. arm ; the lion's skin is spread under him.
With r. hand he seizes the r. arm of an Eros, who supplicates for release ; behind
his head another plays the double flute in his ear. On the 1. an Eros moves
away with a sash in r. hand, dragging Heracles' club after him with 1. ; above is
another flying to r., holding some object. On the r. a third moves away, with
face to front, carrying Heracles' bow and quiver, the former over his shoulder,
the latter held by the thong. Below on the 1. is another kneeling to the 1.,
facing the front, with hands behind him as if bound. In the background is a
tree with ivy-shaped leaves.
Diam. 5 -J in. Payne Knight Coll. (xlvi. 15). Gazette Archeol. 1886, pi. 6, p. 57. For
instances of Eros with the attributes of Heracles, see Pottier and Reinach, Necropole de
Myrina, p. 346, and for the type of Heracles, see Gazette Archeol. 1880, pi. 30, p. 178 ; Rom.
Mittheil. xii. (1897), pp. 56, 144.
858. Sacrifice of a Pig, in relief. The
pig moves to r., and on the further side
of it is a youth placing 1. hand on its
shoulder ; a band is fastened round its
body. The youth is beardless, and wears
a laurel-wreath and short girt chiton,
leaving the r. shoulder bare ; in r. hand
he has probably held a sacrificial knife.
Ht. 4 in. Castellani, 1873. Patina.
859. Relief in open-work. A male deity
kneeling to the front between two
Gryphons ; he is bearded, with hair
rolled over the forehead, cross-belt, and
short girt chiton which falls in long
points between and on either side of the
legs ; he holds the tail of each Gryphon
in one hand. The Gryphon on the 1. Fig. 19= No. 858.
has bird's beak and recurved wings, and
is seated to 1. looking back ; the one on the r. has the head of a panther (?) ;
each has one paw raised (that of the first animal is broken off).
Ht. z\ in. Payne Knight Coll. From Italy. Antiquities of Ionia, pt. 2, p. i., vignette.
Plate XI.
156 CATALOGUE OF BRONZES.
860. Relief attached to a shield-shaped piece of bronze, probably from the
handle of a vase. A child to the front, dancing, with floating chlamys, and belt
over 1. shoulder ; he turns round to look at a sheep on his shoulders, to which
he raises r. hand ; in 1. hand a pedum ; r. leg lifted.
Ht. 2 in. Bequeathed by Sir W. Temple, 1856.
861. Female Head in relief, hollowed out at back. The hair is waved in parallel
rows, the back hair in two long plaits crossing above the forehead, and two curls
on either side of the head ; in the ears are earrings in the form of rosettes.
Pupils of eyes incised.
Ht. 2 J in. Pulsky Coll., 186S [Cat. 217). Dark green patina. The conception is simple,
yet beautiful.
862. Oval Tablet with high relief of three goddesses, within a raised border
which ends on either side in a knob. Each figure wears a high triple-pointed
crown, in front of which is an inverted crescent ; they have hair in curls over
the forehead, long chitons, and himatia. The one on the left advances r. leg ;
the other two, the 1. leg. Each holds a pomegranate in r. hand ; the one on the
1. holds a bird in 1. hand, the next a flower, and the third a broken and indis-
tinguishable object.
2| x 2~ in. Payne Knight Coll. Below the tablet is a point for fixing into a stand.
863. Emblema of oval shape, with a scroll above, in which is a hole for attach-
ment. On it is a relief of the upper part of a barbarian to 1., looking to r. ; he
has a thick moustache, and wears a cap of the skin of a lion's head and a tore ;
behind him floats a chlamys. He holds up some object with r. hand on his 1.
shoulder.
Ht. if in. Towneley Coll.
B. MISCELLANEOUS OBJECTS (864-884).
864. Strigil, incised on one side with design of a dog pursuing a deer to r. ; the
rest covered with various patterns, all punctured. On the other side is incised
an obscure design, apparently two birds confronted.
Length 12^ in. Civita Vecchia, Malta, 1877.
865. Three Strigils, with similar designs, all punctured and plated with silver,
representing a Roman Circus: On one side is an altar, festooned, with seven
globular objects on the top ; a biga driven to r., the charioteer wearing a cap and
holding a goad ; three pyramidal objects on a plinth denoting the end of the
spina. On the other side : three pyramids as before ; a circular domed temple ;
an altar ; a bust and an uncertain object ; an obelisk and an altar.
Length 13 to 14 in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856.
Compare Oaremberg and Saglio, Diet, des Antiqs. s.v. Circus, and Ann. deW Inst. 1870,
pis. L, M. All have .1 slit in the handle, through which in the largest example a ring passes.
GRAECO -ROMAN BRONZES. 157
866. Handle of Strigil, with relief of a nude youth advancing on 1. leg, holding
an uncertain object in 1. hand.
Ht. 3j in. B'irg >n Coll. ; obtained at Naples in 1 8 14.
867. Sword and Sheath. The sword is of iron, and the sheath has been of wood
covered with bronze reliefs. At the top of the sheath is a relief representing
the Emperor Tiberius seated on a throne to 1., beardless, with drapery over his
lower limbs, 1. arm resting on a shield, on which is inscribed : FELIC • His r.
hand is extended to welcome Germanicus, who stands before JTAS him,
T I R F
beardless, with cuirass, short tunic reaching to the knees, and R) high
boots. In the background is a bearded warrior to the front, with
shield and spear ; behind Tiberius is a Victory to 1., with long chiton and
apoptygma, spear and shield ; on the shield is inscribed : VIC AVG, Vic\toria\
Aug\iisti\ Below is a medallion, with laureate beardless head of Tiberius to 1.,
within a laurel-wreath ; above and below it are three bands of oak-leaves and
acorns.
On the end of the sheath is a building with four Corinthian columns, high
arched entrance, and gable roof, having a cornice of open work ; within the
building is seen an eagle to r., with large erect wings, standing on a tendril,
and on either side in the intercolumniations are Roman standards. Below is
an Amazon moving to r. with face to front, wearing Phrygian cap, short chiton
and apoptygma, anaxyrides, and shoes ; in her r. hand a double-headed axe.
Length 21 in. Found at Mayencein 1848. Presented by Felix Slade, Esq., 1866. Lersch,
Das sog. Schwert des Tiberius, Bonn, 1849, with plate; Klein, Abbild. von Maimer A tier t.
1850, ii. ; Roach-Smith, Collect. Antiq. iv. pi. 46 and ii. p. 128 ; Proc. Soc. Antiqs. Ist Ser. ii.
p. 220 and New Ser. iii. p. 358; Gentleman 's Magazine, Jan. 1851, p. 45 ; Lindenschmidt,
Tracht u. Bewaffnung, pi. 11, rig. 1 ; Baumeibter, p. 2073, fig. 2797 ; Daremberg and Saglio, ii.
p. 1606 {s.v. Gladius) ; Schreiber-Anderson, Atlas of Class. Amiqs. pi. 39, fig. 3 ; Smith, Diet.
Antiqs? i. p. 920; Guhl and Koner, Lebcn d. Gr. ii. Rbmer, ii. p. 356, fig. 501 ; Michaelis,
Ancient Marbles in Gt. Britain, p. 165 ; Becker in Philologus, 1850, p. 119 ; Jahrb. d. Vereins
v. Altertumsfr. in Rheinl. xiv. p. 185, xvii. p. 39. The handle and hilt of the sword are lost,
and the sheath is much injured ; parts of the bronze plating are loose.
868. Knife. The handle is of bronze, the blade of iron inlaid with brass,
representing a deer-hunt : a hunter to 1., shooting an arrow from his bow (?) ;
two dogs pursuing a deer to 1. ; in the field, various plants.
Length 12 in. Presented by A. W. Franks, Esq., 1S66. Design nearly worn away.
869. Jar, with objects in relief: two heads of slaves (?) in profile, confronted,
wearing peaked caps with flaps (?) ; a whip (?) ; a basket of fruit on a plinth ; a
head as before to r., with a pedum behind it ; a panther seated to 1., with 1.
fore-paw raised, playing with a ball ; and a cup standing on a pedestal.
Ht. 5{ in. Payne Knight Coll. 8. Hellenistic work.
870. Balsamarium. Round the vase is a Dionysiac revel of four figures : (1)
A nude woman seated to r., looking back ; beneath her is spread drapery ; she
I58 CATALOGUE OF BRONZES.
holds in both hands a half-open cista ; on her feet are sandals. (2) Behind her
is a Maenad to the front, dancing with head turned to r., streaming hair, long
chiton with apoptygma, and sandals ; she holds up a long scarf with both hands.
(3) On the r. is a Satyr moving to r., beardless, with wreath, and panther's
skin hanging from 1. shoulder, over which he carries the body of a fawn
or calf, in r. hand a situla. (4) He is preceded by a Lar Compitalis (cf. Nos.
1 568-1 577 and Pompeian wall-paintings passim), who moves to r., and wears
short girt chiton, himation over 1. shoulder, and endromides ; in r. hand a thyrsos,
in 1. a rhyton ending in the bust of a winged monster.
Ht. 4I in. From Tarquinii (Corneto). Castellani, 1873. Ann. deW Inst. 1883, pi. K,
p. 157 ; Martha, L Art Etrusque, p. 525. Probably dates from the third century B.C. The
figures are cast and chased, not repousse. On either side of the neck is a small ear, from one
of which hangs one link of a chain by which the vase was suspended.
871. Jar. The shape resembles a small stamnos. Round the lip, an egg-mould-
ing ; on the shoulder, band of astragalus pattern ; below, a frieze with two scenes :
1 . Dionysiac revel : Dionysos to 1. with panther at his feet also to 1. ; he has
a himation over lower limbs, and a tJiyrsos in 1. hand ; r. hand extended to the
shoulder of a woman to the front, with himation over lower limbs, held up in r.
hand ; with 1. hand she draws forward the edge of the himation which covers
the back of her head. Between them in the background is a bearded man
seizing with 1. hand the drapery of the woman, which she draws in the opposite
direction. Behind Dionysos is a Seilenos stooping forward to 1., with drapery
round loins, holding a cantharos in 1. hand ; in the background are indications of
a draped figure. Behind the Seilenos a Satyr moves to 1., looking back, carry-
ing a large crater on 1. shoulder. On the 1. of the centre group is a nude youth
to the front, holding a cantharos in r. hand and turning to r. ; beyond is a
Maenad to 1., dancing and playing the double flute, with himation twisted round
lower limbs. Next is a woman who leans with 1. arm on a stele and wears a
long close chiton, in r. hand a fan in the shape of an ivy-leaf. In the back-
ground is a column surmounted by an ox-skull, which bounds the scene on
this side.
2. Heracles drunken : Heracles in the centre leans forward to r. ; beneath
his 1. knee is a lion to r. ; his 1. arm is passed round the neck of a man in the
background, who supports him ; his r. arm is drawn back and held by a nude
man on the 1. The supporting figure has r. arm thrown round Heracles' neck,
and with 1. hand seizes the mantle of a woman who stoops forward to 1. drawing
her drapery back from him ; her hair is knotted up, and she has a himation over
lower limbs. At her further side is a figure leaning forward, touching Heracles'
head with r. hand ; behind her is a woman to front, in long chiton with apoptygma,
pouring some liquid into a situla (?) held in 1. hand. On the 1. of Heracles in
the background is seen the head of a figure who supports him with both arms
round his chest. On the extreme 1. is an object of uncertain outline, perhaps a
doorway, in front of which appears to be a man in short chiton, and above is
Heracles' club suspended (?).
GRAECOROMAN BRONZES.
159
Ht. 3l in. Castellani, 1873. For scene (1) cf. Mus. Borb. iii. 40; for (2) Zoega,
Bassirilievi, ii. pi. 67, and Gerhard, Ant Bildw. pi. 112, fig. 1, and for both together, the
Borghese vase in the Louvre (Chirac, Musie de Sculpt, ii. pi. 131). The designs are worn very-
smooth.
872. Sistrum. Round the handle is a spiral band ; at the juncture is a bust of
Egyptian type, probably representing the river Nile, with hands raised above the
head supporting the sistrum ; it rises out of a calyx, and has a necklace with
bulla and the Egyptian head-dress known as the atef, composed of three ostrich
feathers (the emblem of truth). Back to back with it is a female bust, also
wearing necklace with bulla ; the arms are
common to both. On the top of the sistrum
is a group of the wolf suckling Romulus
and Remus. She reclines with head to 1.,
licking the head of one of the twins who is
seated by her head ; the other is seated by
her hind-legs, and appears to be sucking her
teats (cf. Virg. Aen. viii. 630 ff.).
Ht. 1 if in. 1893. Found in the Tiber. Figures
on top worn.
873. Candelabrum, in the form of a tree-
trunk on an ancient base, in which is a hole.
The tree is covered with Pantheistic em-
blems, partly coated with silver. Above are
the eagle and thunderbolt of Jupiter, the owl.
shield, and spear of Minerva, and the peacock
of Juno, the three Capitoline deities ; next,
the mirror of Venus, and the hammer and
tongs of Vulcan ; the cock, caduceus, and
petascs of Mercury ; the club and quiver
of Hercules ; the lyre and quiver of
Apollo ; the cornucopia and steering oar
of Fortune ; the crown and palm-branch of
Victory ; the mural crown of Cybele ; the
torch, crescent, two-headed axe, and
Phrygian cap of Diana ; the trident and
dolphin of Neptune ; the sistrum of Isis ;
the boar of Mars ; and the quiver and
bow of Cupid. It appears to date from the
time of the early Emperors.
Ht. 7| in. Pulsky Coll., 1S68 {Cat. 288). In
perfect preservation.
874. Symbolic Hand. The hand holds up
a conical fruit between the thumb and fore-
rig. 20 = No. 872.
i6o
CATALOGUE OF BRONZES.
finger ; a snake is twisted round the wrist, and on the back of the hand are a
lizard and a tortoise ; in the palm of the hand, a small tablet. On the wrist
is inscribed :
ZOYTOPACGYZA Zovyopas €v%d/uLevo<; avi0r)K€V Sa(3aQ[a> . . . .
MGNOCANGeH
KGNCABAZI
(U)^۩?&k-KOMU>
Ht. 4f in. From Lord Londesborough's Coll. Presented by A. W. Franks, Esq., 1879.
Arch. Zeit. 1854, Anzeiger, p. 440; Berichte d. sticks. Gesellsch. 1855, p. 102; Arch.-epigr.
Mittheil. aus Oesterreich, 1878, pp. 45, $7- Cf. La Chausse, Afus. Rom. vi. 11-14 ; Baumeister,
Denkmaler, i. p. 75.
875. Symbolic Hand. The two smaller fingers are bent ; on the tip of the
thumb is a pine-cone. On the palm is a ram's head to the front and below it a
Fig. 21 = No. 875.
Fig. 22 = No. 875.
table on which are three cakes ; only two legs are shown, ending in lions' feet ;
on the I., a crater and a small vase. The table stands on a tumulus, which is
shown in section ; within is the figure of a woman lying with head to r., looking
up, wrapped in a himation ; she appears to hold a child to her breast (perhaps
Isis with Horus). On the back of the hand, beginning from the 1., are a plant
with leaves like sea-weed, a cornucopia, a pair of scales, a winged caduceus, an
object shaped like a strigil, lizard, and frog. Next is a large snake with open
mouth and cock's comb, running up the fourth finger, with a beetle (?) on its
back ; beyond the snake, a pair of Phrygian flutes, pine-torch, tortoise, two-
(IRAECOROMAN BRONZES. l6l
thonged whip, tambourine, horse's bit, and a pot on a tripod ; lastly, a crater
and an aryballos.
Ht. 5^ in. Payne Knight Coll. Cf. Montfaucon, Ant. Expl. ii. pt. 2, pi. 137, No. 2;
Elworthy, l he Evil Eye, p. 318 ; Jahn in Ber. d. sticks. Gesellsch. 1855, p. 101 it', and pi. 4 ;
for the woman with the child, ibid. fig. 2a.
876. Symbolic Hand. The fore and middle fingers support a thunder-bolt, on
which are the claws of an eagle (the rest missing) ; on the thumb is a fir-cone ;
the two other fingers are bent forward. On the palm are : a pair of pincers, a
torch, a crescent, two objects resembling the helmets of the Dioscuri, each sur-
mounted by a star, a tortoise, and a whip ; on the back, a pair of Phrygian
flutes, a pair of cymbals, a sistrum, knife, phallic emblem, lyre, and an uncertain
object. Below is a snake twisted round, with head rearing up the ball of the
thumb.
Ht. 5| in. 1895. Montfaucon, Ant. Expl. ii. pt. 2, pi. 137, No. 4.
877. Mask from the face of a corpse. It is in the form of a helmet or cap
bearing a human mask in front and ivy-leaves each side in relief ; over each ear
is a scallop-shell. The mask over the face is formed of a thin plate of bronze
and has a very pointed chin ; the mouth is slightly open, and the eyes are
pierced through with the exception of a thin ring round the pupils. The hair is
richly waved on either side, and a curl hangs in front of each ear ; round the
upper part of the face, passing under the ears, is a thick twisted fillet or tore
with a stud over the forehead, and below it a finely-incised pattern.
Ht. cj£ in. Found in a tomb at Nola. Payne Knight Coll. (vii. 10) ; formerly in the
Mastrilli and Hamilton Colls. Tischbein, Hamilton Vases, ii. p. 98, pi. 1 ; Benndorf, Ant.
Gcsichtshelmc u. Sepulcralmasken, pi. 3, p. 15 ; Mansell, Brit. Mus. Photographs, No. 886.
878. Child's Toy. A long handle ending in a fork, which is attached to the
axle of a hollow disk with convex faces, on which are reliefs: (1) Nude youth
seated to the front, with r. leg curled up and 1. hand extended ; at the further
side of his 1. knee is a dog looking back at him. On the 1. is a tree (?).
(2) Nude youth seated to the front on a rock, with 1. leg curled up ; in r. hand
a stick, with which he defends himself against a swan pecking at him.
Length \\~ in. Diam. of disk, 3 in. Corinth, 1873. Much broken. At the end of the
handle is a bud.
879. Child's Toy. Similar to the last, but plain ring at the end of the handle,
and on the disk a rosette in repousse' relief either side.
Length 9! in. Diameter of disk, 2f in. 1881.
880. Mirror. The handle is in the form of a figure of Aphrodite in Egypto-
Phoenician style ; she has long hair falling on the shoulders, and wears earrings
and a girdle round the loins ; her feet are close together, and her 1. hand close
to her side ; in r. hand she holds a dove to her breast. On her head is a lotos-
flower.
Ht. 9 % in. From Egypt (?), 1894.. Hair and features minutely rendered.
M
l62
CATALOGUE OF BRONZES.
881. Model of Altar, hollowed out for fixing to some object. On the top is
a pile of wood, on which a fire is kindled ; on the front is a wreath in festoon,
and above it an ox-skull. At either end is a moulded cornice, with a rosette on
the end facing the front ; the plinth is moulded above and below.
Ht. 27H in. Width, z\ in. From Rome. Castellani, 1873. Smith, Diet. A ntiqs? i. p. 158.
882. Patera. The handle ends in a ram's head, finely modelled, with curly hair Plate XXV.
between the horns ; it is fluted, and ends in an inverted calyx spreading out
into a flat piece, on which are volutes in low relief ; round the edge of the
patera are bead and egg patterns. In the interior is a medallion, with borders
of bead, network and egg-and-dart (with palmettes on the eggs) ; on it is a group
in relief of Scylla destroying the companions of Odysseus. Scylla is to the
r., and her r. hand is raised to strike a man whose hair she grasps with her 1. ;
she has straight hair brushed back, and her body ends in a double serpentine
fish-tail, radiated at the end, and inlaid with silver. In front of her project the
fore-parts of three dogs, the one on the r. making for the man whom Scylla
attacks ; his head only is visible behind the stern
of the ship, which is shown on the r. hand. The
centre head bites the r. arm of a second companion,
who tries to swim away to r. with an over-hand
stroke ; his I. arm is extended, and his r. lies along
his side. His r. leg is seized by the 1. fore-paw of
the third dog, which bites the 1. leg of the third
companion, who flees away to 1., looking back, with
r. leg doubled up, and endeavours to loosen its
grasp. Within the coils of the tail on the 1. is seen
the head of a fourth companion, and his 1. arm
raised in supplication. The eyes of the men and
dogs are inlaid with silver.
Diam. iof in. Length 16J in. Acquired 1897 ; from
Bosco Reale, near Pompeii. Monumenti Antichi, vii. p. 513,
fig. 75. For the subject compare Od. xii. 245-259; Over-
beck, Her. Bildw. p. 796 ; and Miss Harrison, Myths of the
Odyssey, p. 183 ff.
883. Plate with incised designs, representing scenes
from the Iliad : (1) Patroclos asking for the
armour of Achilles (//. xvi. 1 ff.) : Achilles is
seated to the front on a chair with high back,
resting r. hand on thigh and raising 1. hand to his
head : below the elbow is an upright sheathed
sword ; he is beardless, and wears a short sleeved
chiton with girdle of scales and embroidered sleeves,
chlamys fastened with a brooch on the r. shoulder,
and endromides ; before his feet is a footstool with _ x...
GRAECO-ROMAN BRONZES. I 63
patterns of dots and wavy lines, and on his 1. is his shield, with floral patterns
on the boss and border of wavy line between dots. He turns to 1. to look at
Patroclos, who approaches, with two fingers of r. hand raised, beardless, wearing
pctasos, short chiton, chlamys floating behind, and endromides ; in 1. hand is
a spear. The ground is indicated. (2) Briseis led away by the heralds
Talthybios and Eurybates (//. i. 320 ff.) : The heralds are beardless,
and wear petasi, chlamydes fastened by brooches on the r. shoulders, short
chitons, and endromides ; they move to r., leading Briseis between them,
and turn to look at her. The one on the 1. holds her 1. hand, and the
other places r. hand on her r. arm ; she wears long chiton and sandals, and
is wrapped in a himation which veils her head ; she looks down in dejection.
The ground is indicated as above ; below this scene are a cuirass, shield
with patterns of dots; and three spears crossed, perhaps denoting the armour
of Achilles.
Length 9 in. Hamilton Coll. Broken round the edge. The designs are plated
with tin.
884. Phiale, with incised designs. Round the rim is a frieze of animals : Two
dolphins to r. and a fish to 1. ; two ducks to r., the first with an eel in its mouth ;
next, two fishes, a cuttle-fish, and a dolphin ; a sea-urchin (?), and an octopus
between two fishes confronted. Next, two ducks to 1. between two fishes, a
dolphin to 1., two fishes, a torpedo, and a fish to r. ; a cuttle-fish, and two ducks
to r., the first turning round to the other ; the rest is lost.
In a medallion in the centre, surrounded by a myrtle-wreath, the ends of
which meet in a rosette, is a representation of a harbour (cf. Vitruvius'
description, v. 12) : In the background is a building with a pediment and three
round-headed arches with capitals on the piers ; the centre
arch is higher than the other two, and festoons hang across
them. On either side the building is continued at right
angles, with four similar festooned arches on either side, and Fig. 24 = no. 884.
gabled roofs ; at each end is a round-headed doorway, and
the masonry is indicated ; the perspective is faulty. In the sea are fishes
swimming about, among them a torpedo, and in the foreground a boat, in which
are two Cupids rowing to the 1.
Round the medallion is a frieze representing fishermen : A beardless man
moving to r., looking back, with petasos and chlamys fastened on 1. shoulder,
carrying a landing-net over his 1. shoulder, in r. hand a fish. The next is to the
front, beardless, with petasos and drapery round loins, who is drawing a net
together with a third man, seated to 1., beardless, with petasos and short chiton,
at his 1. side a basket ; behind him is a duck with an eel in its mouth. The
next moves to r., looking to 1., with short chiton and chlamys over 1. shoulder ;
he carries a pole over 1. shoulder, at each end of which hangs a basket containing
fish. The next is beardless, and has petasos and chlamys fastened on 1. shoulder ;
he stoops forward to the front, spreading or drawing in a net ; on either side of
M 2
164
CATALOGUE OF BRONZES.
him is a duck. The next to r., with petasos, chlamys fastened on I. shoulder,
and short chiton, holds out a landing-net. In the field are numerous specimens
of cuttle-fish and octopus, dolphins, and torpedos, and other fish as those round
the rim, filling up every available space.
Ht. 2\ in. Diam. 9I in. Found at Porto d'Anzio in 1782. Towneley Coll. The drawing
here reproduced was made for Mr. Towneley. Rim slightly broken. A similar representation
is given by Schreiber, Alexandr. Toreutik, fig. 63, p. 325.
Fig. 25 = No.
GRAECO-ROMAN BR< )NZES.
I65
C— INSCRIBED BRONZE OBJECTS OF THE ROMAN PERIOD (885-908).
885. Ticket Inscribed: EKATON GEQNOZ AMIOZ, 'V^droyv Qicovo? "A/U09 (or
perhaps S]d/JLio<i).
Length 2 in. Smyrna, 1885.
886.
887
888.
Fragment of Tablet. Inscribed
THPIAC TAIOY IOYAIOY
ANOYXYCIOY KAlACnA
<J>|\U)VOC CYN
~>YCHC THC
T€
6j x 9I x I in. Beyrut, 1884.
Gr&)]Tf?p/a? Taiov 'IoiAt'ou
. ]avov Avaiov real ' Acnra\aias
t&CKwvos avv\_ . . .
Oval Tablet, stamped with three heads, representing the Emperor Philip,
his son Philip, and his wife Otacilia. The Emperor is to r., bearded and laureated,
wearing a chlamys ; his son to L, beardless and laureated, and his wife to 1., with
hair drawn back in parallel waves and gathered up at the neck (in the style of
the third century), and drapery visible at the throat. On the 1. is a small figure
of Zeus Serapis seated on a stool to r., in the attitude of the Olympian Zeus,
with long hair, polos, and fillet, sceptre in r. hand tied round with a sash, in 1. a
patera (?). Above is stamped the inscription :
M-V&twv irpo
OSnUHTOVM
•onaAon
iinaoiaqa
TlpeLaewv.
2 x ii in. From Smyrna ; formerly in the possession of Mr. H. P. Borrell. Presented
by G. Eastwood, Esq., 1866. Proc.Soc. Anti'qs.u. 1853, p. 265 ; Bernoulli, Rom. Ikonographic,
ii. pt. 3, p. 141 ; Brit. A/us. Inscr. ii. p. 4. The synod of Mystac of the Breisean Dionysos is
mentioned in inscriptions found at Smyrna (C /. Gr. 3176).
Tablet with Oscan inscription relating to the dedication of statues to
various deities. At the top are two loops riveted on, through which passes a
handle with the ends turned up and ending in knobs ; attached to this are four
links of an iron chain (much corroded).
(a) " HhTaVB -T^* • • *vn -^VT/JT*
• oht/it* • h^>jT3q • HHi-aa3»
OhTdT* • 1-aaa.x • ohTdT* • i-vj>qa.
• OhT/JTi • \-A\\-QQ^y\ • \-^QT\Q
5 • 81-T/ITi • bATATX ' CI3TH/1
• oi-Tvn"* • Mii-aa3>i • \-av\aw\a
• Q\-TAbX • X\-A\y-QQ37i ■ * h/1 f~l W V 1 3
. OhTrtT* • MaTM3. • h3.XI-s]X/<IM/4DM
• 01-TrtT* • *i-vii-aaa.* • nnao/iHd
status pus set Jiiirtiu
kerriiin ; veskei statif
evklui statif kerri statif
futrei kerriiai statif
anter-statai statif
ammai kerriiai statif
diumpais kerriiais statif
liganakdikei entrai statif
auafriss kerriiuis statif
i66
CATALOGUE OF BRONZES.
10 • OhTrtT* • ihVII-aa^>i -XbVTAAM
• QbTATX • hVWB^a^U • h33VI3
• OKMT* • h^aVT/lD^a • h^UVIS
■ oi-T/dTi • hvihaa3>i • i-v^a^B
- 81-TdT* ■ h/JhTihin • \-AWATA\l
IS -OKTdT* ■ h/lT^H^D ■ HO h^
• bA\lAQVn ■ \-AXAA
. i-gair-id • mvavo^T • wavtbaax
■ t-s,H3\y\A ■ sinni-^a^Tvn
20 • kMVTaVB • XA • XbA\lAlVV\Q
- Q^TAQA-HAX
■ 8\-tatx ■ Mii-aa^x • Mna^n
• oi-T/^Ti • Mii-aa^a • IdWWrt
• ShTrtT* . Mii-aa^M • \-AXW-iQ
• QbTATX ■ \-3Q3TAFl ■ HV«l>q3
TMI-T*33 • XXAX3 ■ XAXAA
• hVTQVB
■ h^aTWS
• hdTrtT* • a^TH/l
• ih/<inkMvm
• )-AQTH3 • KDH-sWrtH/OM
• bA\\-QQ3y\
■ XX\-Q8AHA
■ XWTAAM
■ V\XAB3Q31 ■ I-3HVI3
40 • i-^avT/i^a • hvishin • i-^ivis)
• i-viiaa^x • hv^q^b
• MKT*Hn • \-AHATAH
■ bAb^Vi^D- \-A3\-3.*\
h/iiMavn • \-axaa
45 ■ mVaVO^T • MVTBAAX
■ s)i-ni-^a^Tvn • h^arnd
• b3b\3.yiA
TbATX ■ W-VMUAWi^* ■ iQVy
25
iP)
30
35
maatiiis kerriiiiis statif IO
diuvei verekasiui statif
diuvei regaturei statif
herekliii kerriiiii statif
patanai piistiai statif
deivai genetai statif 1 5
aasai purasiai
saaJitum tefurum alttrei
piitereipid akenei
sakahiter.
fiuusasiais az hiirtiim 20
saka rater ;
pernai kerriiai statif
ammai kerriiai statif
fhmsai kerriiai statif
evkliii pater ei statif. 25
aasas ekask eestiut
Jiurtiti ;
vezkei
evkliii
fuutrei 30
anter-statai
kerri
ammai
diumpais
liganakdikei entraj 35
kerriiai ;
anafriss
maatiiis
diiivei vere/iasiu(i)
diuvei piihiui regaturei 4o
herekliii kerriiiii
patanai piistiai
deivai genetai
aasai purasiai
saahtum tefurum 45
alttrei piitereipid
akenei ;
hurz dekmanniuis stait.
lit. 11 in. Diam. 6\ in. Found at Agnone (Bovianum) in 1848; Castcllani, 18/3.
Newton, Castellani Collection, pis. 3, 4 ; Mon. delP Inst. iv. pi. 60, 1 and Ann. 1848, p. 382 ;
Conway, Italic Dialects, i. p. 191 ; Fabretti, C. I. Ital. 2875, pi- 54 \ Mommsen, Unterital.
Dialcktc, pi. 7, p. 128 ; Zvctaicff, Syll. Inscr. Osc. i. p. 6 ; Buchelcr, Umbrica, pp. 30, 80, 112 ;
GRAECO-ROMAN BRONZES. I 67
Zeitschr. fiir vergl. Sprachforsch. i. p. 86, v. p. 9 ; Breal, Me"m. Soc. Ling. iv. p. 138 ; Enderis,
Formenlchre d. Osk. Sprache, p. 1 ; von Planta, Grainm. d. Oskisch-Umbr. Dial. i. p. 32;
Huschkius, Die Osk. u. Sabell. Sprachdenkm. p. 3. The date is about B.C. 200 ; for explana-
tions of the words and philological discussion see Conway, loc. cit. and glossary. N.B. — The
character V (transliterated /) is intermediate between e and i ; V (transliterated u) is inter-
mediate between u and 0.
889. Kim of Large Vase. Inscribed: q.vainio-Q- f- PRAIFe<TO$ • PROTREBIBOS-
FECIT, Q. Lainiois) Q. f. praifectos (=pracfectus) pro trebibos ( = tribubits) fecit.
The vase was probably made for the use of one of the tribes of a praefectura.
Diam. 9 J in. Castellani, 1873. Jordan, Quacstiones Archaicae, p. 1 ; Ephem. Epigr. ii.
p. 208.
890. Fragment of an Incantation (?). Inscribed: • • • 1 - TiBEl • firmvs . . .
• • NOS
. . . % Tiber\ins\ Firntus nos . . .
Length 2} in. Hamilton Coll.
891. Votive Leg, with dove-tailed ticket attached by a ring, and chain for sus-
pension ; the leg is rendered from the knee downwards ; on the foot is a shoe.
On the ticket is inscribed in letters punched out from the back: T.-.R.-.
CALEDI.
Length 8~ in. Hamilton Coll.
892. Mould for one half of a vase, inscribed inside MVD3A, Aecum.
Length \\ in. 1875.
893. Tool of uncertain use, with bluntly-serrated edge, long and narrow, tapering
to a point at one end and pierced with a hole at the other. On one side a pattern
of tendrils is incised ; on the other is inscribed: 1VE PETIT PENVS ' ER1T AMATO
fcE FECIT. The antiquity of this inscription is very doubtful.
Length 4^ in. From Rome. Castellani, 1873. Bull. deW Inst. 1873, P- 35-
894. Votive Ticket, notched at the top, inscribed: DEO APOLLINI | AVGVSTI • D •
ASiIcivsnorbanvs | V-S-L-M. Deo Apolliui Aitgusti D{ecins) A skins Nor-
banus v{otum) siphit) l{iibens) m(erito).
2~ x 1 in. Found at St. Juste, Lyons. Comarmond Coll., 185 1. Arch. Zeit. 1852,
Anzeiger, p. 203.
895. Dove-tailed Ticket, inscribed in punctured letters: POE'NiVlO • SAfCRUM-
P'BLATTIUS j CRETICUS, Pocnino (sc. Iovi) sacrum P. Blattius Creticns. The
back is plated with silver ; on it is incised part of a myrtle-branch.
2j x 1 in. Found on the summit of Little Mt. St. Bernard. Hamilton Coll. C. I. L.
v. 6866; D'Hancarville, Ant. Etr. i. p. xxiv. and p. 175 ; Promis, Ant. di Aosta, p. 74;
Mommsen, Inscr. Helvet. No. 47 (= Mittheil. d. Ant. Ges. in Zurich, x. (1854), p. 9).
1 68 CATALOGUE OF BRONZES.
896. Dove-tailed Ticket, inscribed on obv. SERE ; on rev. XV.
Length i in. Slightly injured. One dove-tail pierced.
897. Dove-tailed Ticket, with rings at top and bottom in which nails were inserted
lor suspension. On both sides is inscribed : HEDONE | M CRASSl ANCILLA |
FERONIAE • V • S • L • M, Hedone, M. Crassi ancilla, Feroniac v{ptum) siolvif) l(ubens)
m(erito).
Length 5| in. Pulsky Coll., i863 {Cat. 325) ; formerly in Museo Gaddi. Gori, Inscr. in
Etruria, iii. appendix, p. 9 ; Orelli, Inscr. Lat. 1318. Letters of the time of Hadrian, with
oblique apices.
898. Fragment of dove-tailed ticket, pierced for attachment, inscribed : DIAN .
SEX VERC .... I APELLES | V-S^l-m. Dian\ae\ \ Sex{tus) Vero\nius\ \ Apelles \
viotum) s{plvit) l{?ibens) viierito).
3f x 2 in. From Rome. Castellani, 1873. £• I- L. vi. 3676. Part of right side lost.
899. Ticket, inscribed: Q • VALERIVS • Q • L • MINAND|ER • IVNONI • V • s • L- M, Q.
Valerius Q. l(ibertus) Minander Iunoni v{ptum) s{plvii) l(ubens) m(erito).
4} x ijin. From Padua. Castellani, 1873. C. I. L. v. 2798 and vi. 3693 ; published in
the latter place as an inscription from Rome. Pierced with two holes ; letters cut with a broad
tool.
900. Ticket, inscribed: £ MASSA PONTIS | VERI ANTIO|CHI ET PAR|TENI VV CC
I EX C P.P. sc \y^ • Massa Pontis Veri AntiocJii et Part(h)eni v(iroritui) c(larissi-
morum) ex C (?) p(rae)p(ositis) s(acri) c(ubiculi). Or : ex p(ecunia) p{ublica)
s(enatus) c(ons?ilta).
3 x 1 J in. Presented by C. D. E. Fortnum, Esq., 1889. Bull. dclP Inst. 1865, p. 115 ;
Class. Review, iii. (1889), p. 285. For massa, cf. Orelli, Nos. 104 and 4360 = C.I.L. xiv. 348-',
2934. The ticket is pierced with a hole and marked with imitations of dove-tails.
901. Part of Centurion's Ticket, inscribed on one side : I • CLAVDl | PR ISC ; on
the other, mIl coh • TiTi PR ■ > PATER N, T\i. Claudi\us~\ Prisc\us\ mil{itaris)coh(ortis)
quartae pr{aetoriae) centurio P titer u\i.
3| x I in. From Rome. Castellani, 1873. C. I. L. vi. 2541a. Broken in two. Two
holes for attachment.
902. Badge of Slave, circular, with loop riveted to top (now broken away),
inscribed : TENE ME NE J FVGIA • ET • REVOjCA ME AD DOMNVM | EVVIVENTIVM • IN
I ARA CALLISTI, Tene me ue fugia{iii) et revoca me ad dom{t)nu{m) meu(m)
Viventium in ar{e)a Callisti. This badge was a warrant for the slave's arrest if
he ran away.
Diam. i\ in. Revue ArMol. xxix. (1875), p. 106 ; Bull. Arch. Crist. Ser. 2, v. p. 50, note t.
903. Disc cut from an inscribed plate, with a hole partially punched through ;
on one side is inscribed : ANC ... | NDE • P . . . ; on the other, VENh | D ■ FENEP |
/BITAn . . .
Diam. l| in. 1882.
GRAECO-ROMAN BRONZES. 1 69
904. Tablet, with gabled top and two ears. Above is a bust of Sol in high relief,
radiated, issuing from foliage ; on the 1. is a sacrificial knife (secespita), and on
the r. a patera. At the back is a movable handle decorated with foliage in
relief and terminating at either end in the head of a dog (with a possible
reference to Sirius?). Inscribed :
SEX- POMPEIO- SEX- FIL
MAXIMO
SACERDOTI SOLIS IN
VICTI /*J\ PATRI PAT&W.
QQ CORP TREIECT TOGA
TENSIVM SACERDO
TES SOLIS INVICTI /¥\
08 AMOREM ET MERI
TA EIVS SEMPER HA
BET
Sex - Pompeio • Sex(ti) ■ filiid) Maximo sacevdoti Solis invicti Mi{thrae),
patri p'atrum, q(uin)q(tiennali) corporis) treiect{iis) togatensium, sacerdotes Solis
invicti Mi{thrae) ob amorem et merita eius. Semper habet.
i6f x \l\ in. Castellani, 1873. Ephem. Epigr. i. p. 217 (Henzen) ; C. I. L. xiv. 403 ;
Cumont, Mystcrcs de Mithras, ii. p. 118, No. 141. The date of the lettering is about a.d. 200.
For an explanation of the terms patres, quinqueunalis, treiectics, togatensium, see Henzen.
The inscription seems to relate to Ostia, and the tablet may have been found there.
905. Circular Stamp, with rim below ; in the centre is an anchor ; round it is
inscribed : L ■ alli • L • F • VEL, L. Alli(us) L{uci) /(ilius) Vel(ocis ?).
Diam. t\\ in. Castellani, 1873. Letters in relief.
906. Plate. Inscribed in dotted letters, retrograde: Q CARMINIVS | OPTATVS j
LARIBVS, Q- Carminius Optatus Laribus.
Diam. 1 1-| in. Found near Milan; formerly in Biondelli Coll. Presented by A. W.
Franks, Esq., 1879.
907. Jar, with inscription incised round rim : IMP HADRIANI AVG PI, Imp{eratoris)
Hadriani Aug(iisti) Pi{i).
Ht. 4j in. Very coarse ; no foot. Perhaps a standard measure.
908. Bar of solid bronze, inscribed in a sinking on the top : M. PRO SCIEIS. M. F.
MAIC.
Length 18 in.
170
D. STATUETTES OF THE GRAECO-ROMAN
PERIOD,
ARRANGED ACCORDING TO SUBJECTS (909-1928).
I. OLYMPIAN DEITIES (909-1325).
A. ZEUS, ,HERA, etc. (909-957).
909. Zeus. He is seated, holding in r. hand a lofty sceptre ending in a lotos-
bud ; he has rich curly hair and beard, a large laurel-wreath on his head, and a
himation over I. shoulder ; in his 1. hand is a thunderbolt. The figure is
accurately modelled and in excellent condition.
Ht. 7j in. Found in Hungary. Pourtales Coll., 1865 (Cat. 536) ; formerly in Denon
Coll. Clarac, Musde de Sculpt, iii. pi. 398, 658 ; Mansell, Brit. Mus. Photographs, No. 871 ;
Rayet, Monuments de Part antique, pi. 43 ; Murray, Greek Bronzes (Portfolio, April, 1898),
p. 61 ; Overbeck, Kunstmythol. (Zeus), pp. 122, 127, 128. The seat and pedestal are modern ;
the end of the thunderbolt, sceptre, and both feet restored. The head is somewhat of the
character usually associated with Poseidon.
910. Zeus (or perhaps Heracles). Stands on r. leg with 1. foot drawn back ; r.
hand slightly advanced ; 1. hand seems to have held a sceptre. His head is
slightly inclined to his r., and he has a thick beard and curly hair ; the nipples of
the breast are inlaid in copper. The attitude recalls the Doryphoros of Poly-
cleitos, but the proportions are decidedly Lysippian ; the head is of a Heraclean
type, but it is probably intended for Zeus.
Ht. $1 in. Payne Knight Coll. (xlvi. 16). Clarac, Musec de Sculpt, v. 802 G, 197 1 D ;
Furtwaengler, Meisterw. d. gr. Plastik, p. 519; id. English ed. ii. p. 299. In good condition and
well executed, but probably Graeco-Roman work.
911. Zeus. He stands with 1. foot drawn back, and 1. hand raised ; his r. hand
holds a thunderbolt, and his 1. has held a sceptre ; he wears a chlamys over 1.
shoulder, and a large laurel-wreath tied with a ribbon, the ends of which hang
down.
Ht. 2 2 in. Towneley Coll.
912. Zeus, as the last.
Ht. 2% in. Left foot lost ; rather coarse style.
913. Zeus, as before.
Ht. 2 1 in. Both legs restored from below knees.
STATUETTES OF ZEUS. 171
914. Zeus, as before.
Ht. 3I in. Hamilton Coll. 143.
915. Zeus, as before.
Ht. 2J in. Hamilton Coll. 181.
916. Zeus, as before, with hair arranged in two rows of curls all round and rolled
up behind, and chlamys doubled over 1. shoulder.
Ht. 3^ in. Found at the foot of Mount Vesuvius. Hamilton Coll. 142.
917. Zeus. He stands on r. leg-, looking down to r. ; he has curly hair and
beard, and wears a fillet, and a chlamys over 1. shoulder ; in r. hand he holds
a thunderbolt (broken) ; the 1. hand has been raised, but is now wanting.
Ht. 5 g in. Hollis Coll. Feet injured ; left fore-arm lost.
918. Zeus, as the last, looking to his r. ; his hair is rolled up at the back, and he
has a straight beard.
Ht. 3! in. Payne Knight Coll. (liii. 1). Murray, Hist, of Gk. Sculpture, ii. p. 325, refers
this type to a Praxitelean original.
919. Zeus. He stands on r. leg, looking down to r., holding out a thunderbolt
in r. hand ; he wears a wreath and has held a sceptre in r. hand ; he stands on a
base shaped like the back of a tortoise.
Ht. 2§ in.
920. Zeus. Stands on r. leg, with r. hand on hip ; in 1. he has held a thunder-
bolt (?) ; the head somewhat resembles the Otricoli type in the Vatican.
Ht. 3,- in. Left foot lost ; very coarse.
921. Zeus. Stands on r. leg on a square base, looking down to his r. ; in r. hand
he holds a thunderbolt by his side, and in 1. he has held a sceptre ; he has curly
hair and beard, the former gathered in a mass at the back, and wears a fillet,
chlamys over 1. shoulder, and sandals.
Ht. 62- in. Castellani, 1873. Ancient base.
922. Zeus. Stands on r. leg, with r. hand raised, holding thunderbolt in 1. hand ;
he has curly hair, and the face has a certain resemblance to a lion's mask.
Ht. 2jin. Presented by Gen. Meyrick, 1878. Feet lost ; much worn.
923. Zeus. He stands on r. leg, looking to r. ; his 1. hand is raised and has held
a sceptre ; his r. hangs by his side and holds a thunderbolt ; he has rich curly
hair and beard.
Ht. 9 in. ; with ancient base, iof in.
924. Zeus. He stands on r. leg, with r. arm extended, wearing a wreath and
chlamys wrapped round 1. arm, held up in 1. hand.
Ht. 3 in. Right hand broken off.
172 CATALOGUE OF BRONZES.
925. Zeus. He stands on r. leg, looking to his r., holding a thunderbolt in
r. hand by his side ; he has a straight beard, hair tied behind, and drapery over
1. shoulder.
Ht. 2! in.
926. Zeus. Stands on r. leg, with heel of 1. leg raised, looking down to his 1. ;
his r. hand is raised above his head with a thunderbolt which he is about to
hurl ; his 1. hand has held up some object ; hair and beard coarsely rendered.
Ht. 4! in. Towneley Coll. Apparently a modern forgery.
927. Zeus. He strides forward to his 1., with 1. foot advanced, his weight thrown
on the r. foot ; his r. arm is drawn back, wielding the thunderbolt which he
is about to hurl. He wears a fillet, and chlamys on 1. arm ; his 1. arm is
extended, and an eagle is perched on the back of the hand.
Ht. 3 1 in. Hamilton Coll. 177 C. Right leg below knee, and left foot and ankle,
restored.
928. Right Arm of Zeus holding thunderbolt, from a figure as above.
Total length, 4 in.
929. Zeus. Stands on r. leg, holding out in r. hand an eagle with wings spread ;
his 1. hand is raised, having held a sceptre ; he has curly hair, and wears a fillet,
and chlamys over 1. arm fastened on r. shoulder and marked like an aegis.
Ht. i\ in. Castellani, 1873. Good patina.
930. Zeus. He stands on r. leg, looking slightly to his r., holding out a thunder-
bolt in r. hand ; he is beardless, and a chlamys is twisted round his 1. arm ; his
hair is long, bound with a fillet and gathered at the nape of the neck.
Ht. 3! in. Hamilton Coll. 156. For the youthful Zeus, see Overbeck, Gr.Kunstmythol.
{Zeus), p. 202.
931. Bust of Zeus. He has thick curly hair and beard, laurel-wreath tied with
a ribbon, the ends of which fall on the shoulders ; drapery on 1. shoulder.
Ht. 2g in. Hamilton Coll. 64. Three holes in the bust for attachment to some object.
932. Bust of Zeus, in relief. He looks up to his 1., and wears a chlamys on 1.
shoulder ; hair and beard in large stiff curls.
Ht. 2 in. Has apparently been gilded.
933. Bust of Zeus, as the last.
Ht. 1 J in. Coarse style ; much worn.
934. Head of Zeus. Thick curly hair and beard, like the Otricoli head ; narrow
fillet.
Ht. 1 in. Towneley Coll. Hole for suspension through the forehead.
ZEUS, ETC. 173
935. Bust of Zeus Serapis, with curly hair and beard, chiton fastened with a
brooch on r. shoulder, and chlamys over 1. shoulder ; on top of the head is an
Egyptian crown.
Ht. 3I in. Payne Knight Coll. (iii. 2).
936. Head of Zeus Ammon, bearded, with smooth hair and ram's horns ; ring
on top.
Ht. 3 in. Payne Knight Coll. Rather worn. Has formed weight for steelyard.
937. Mask of Zeus Amnion, with beard, moustache, and ram's horns ; eyes have
been inlaid.
Ht. 2| in. Corinth, 1888. Class. Review, ii. (1888), p. 297. Right side of head broken ;
hollowed out at the back.
938. Bust of Zeus Ammon and Hera, back to back. Zeus is bearded, with
curly hair and ram's horns ; Hera's hair is parted and waved, with a tress
behind each ear.
Ht. i\ in. Has been used as a weight. The eyes have been inlaid.
939. Zeus Serapis seated in a chair. His 1. foot is raised and has rested on a
footstool ; at his 1. side is an eagle with wings spread. He wears a polos and
radiated fillet, long sleeved chiton, himation over knees and 1. shoulder, and
sandals ; hair in two rows of curls ; his r. hand rests by his side, and in 1. is a
sceptre.
Ht. 2\ in. Hamilton Coll. 172. Left fore-arm, right hand, sceptre, and chair restored.
940. Bust of Serapis. He has long curls, polos (broken off), chiton, and
chlamys over 1. shoulder.
Ht. 1 J in.
941. Bust of Serapis. Hair and beard curly and rather long ; polos with
branches engraved, and chiton and chlamys as last.
Ht. 3! in. Payne Knight Coll. (lxix. 1).
942. Bust of Serapis. Curly hair, chiton and chlamys as before, polos which has
been radiated, and a horn on either side of the head (that on the 1. broken off).
Ht. if in. Hollis Coll.
943. Bust of Serapis. Hair and beard carefully arranged ; he has a fierce
expression, and wears polos, chiton, and chlamys ; the eyes have been inlaid.
Ht. 2 j in. Sloane Coll. 467.
944. Bust of Serapis, supported by a floral stem, on the calyx of which it rests ;
polos with olive-branches in relief, chiton and chlamys.
Ht. 8 1 in. Strangford Coll., 1864.
945. Bust of Serapis. Features of same type as preceding ; polos, and drapery
over 1. shoulder ; rather long hair,
Ht. i^in.
174 CATALOGUE OF BRONZES.
946. Head of Serapis. Thick curls all round ; wears polos with olive (P)-branches
in relief.
Ht. 2 in. Castellani, 1873.
947. Head of Pluto, with rich snaky locks, carefully executed.
Ht. 2|in. From Calabria. Payne Knight Coll. (lxix. 2). Good patina. The head has
been hollowed out behind, and Payne Knight in his MS. Cat. states that it had been used by a
Calabrian peasant for the head of a walking-stick.
948. Kerberos. He is seated on his haunches ; at the base of the neck on each
side is a smaller head at right angles to the middle one ; all are heads of
mastiffs. The hair is short and smooth, indicated by fine lines.
Ht. i\ in. Rhodes, 1872. Journ. Hell. Stud. vi. (1885), p. 291; Reinach, Repertoire,
ii. p. 699, No. 2. Tail lost.
949. Kerberos. As the last, standing ; round the fore-legs two snakes are
intertwined, their heads projecting on each side of his breast ; the head on his
1. side looks upwards, and is that of a greyhound, the other two, mastiffs.
Ht. l|in. FromLycia. Acquired from Gen. Haug, 1866. Journ. Hell. Stud. vi. (1885),
P- 293-
950. Kerberos, standing on three legs. The middle head looks back, the nose
raised ; the head on his r. looks back horizontally ; the other stoops to lick the
r. fore-paw, which is raised.
Ht. 2~ in. Hamilton Coll. 75. Tail lost.
951. Hera (P). Her hair is gathered in a knot at the nape of the neck, and she
wears a sphendone, long girt chiton, and himation over 1. shoulder and round
lower limbs ; she holds out both hands, the 1. with some uncertain object ; the
r. hand may have held a patera.
Ht. 21 in. From Armento. Bequeathed by Sir W. Temple, 1856. Ancient base.
952. Head of Hera. Her hair is waved and gathered at the back ; she wears a
sphendonc, the bands for attaching which pass under the hair, falling on either
side of the neck.
Ht. if in. Towneley Coll. Hole pierced in the sphendonc for suspension.
953. Mask of Hera (?). Her hair is parted and falls in four formal curls on
either side ; she wears a high stcphanc ornamented with incised rosettes. Below,
a palmette inverted, with volutes.
Ht. 3 in. Payne Knight Coll. Archaistic style.
954. Ganymede. He stands on r. leg, looking to his r., as if leaning against
something ; the attitude and pose of the body recall the manner of Praxiteles.
His 1. hand rests on a support, and holds a phiale, and in r. is an oinochoe ; he is
beardless, and his hair is drawn up into a knot over the forehend, with a tress
falling on either side of the neck.
Ht. 3 in. Payne Knight Coll. Small flat ancient base.
MARINE DEITIES. I 75
955. Ganymede carried off by the eagle (cf. No. 726). His legs are crossed, and
his I. arm is raised above his head and muffled in a himation, which hangs down
his 1. side ; below this arm the eagle's 1. wing is shown, and its r. wing on the
opposite side ; his r. arm rests on r. hip. He is beardless, and wears a Phrygian
cap ; the base of the figure is in the shape of a lion's claw. The eagle's head
seems to be indicated above his head ; but the surface is too bad to allow of its
being ascertained.
Ht. 2-} in. Castellani, 1873. Much worn ; the back is cut away with a step, showing
that it has served as the foot of a small cista.
956. Ganymede (?). He stands on 1. leg, looking to his 1. ; his r. hand holds up
a jug, from which he fills a patera held in 1. hand. He has long straight hair and
is winged ; on his 1. leg is an anklet, and on his head is a snake's head rising out
of a calyx.
Ht. 8} in. Payne Knight Coll. The stand is modern ; on either side is a female mask
with curly hair and short horns.
957. Hebe (?). She looks up to her r., and holds up a patera in r. hand and a
jug in 1. hand by her side ; her hair is twisted up all round, and she wears a high
pointed cap and shoes.
Ht. 5 \ in. Left foot broken.
B. MARINE DEITIES (958-975).
958. Zeus or Poseidon. Stands on r. leg, the 1. leg slightly bent and heel
raised ; his 1. hand rests on his hip, and he has held out some object (now lost)
in r. hand. His hair and beard are rough and shaggy, and he wears a chlamys
over 1. shoulder, wrapped round 1. arm ; on his head is a fillet, in which are holes
for the insertion of ornaments. On the 1. thigh is inscribed lse>IVI, probably
the name of the dedicator.
Ht. iOj in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Right leg
restored from knee downwards. The surface is in fine condition, but the proportions are too
long ; the figure is probably a barbaric imitation of Greek work. On the top of the head is a
deep hole in which some ornament (a polos ?) has been fitted.
959. Poseidon (?). He wears a chlamys twisted round his arms, passing behind
his back.
Ht. 1 J in. Blacas Coll., 1867. Much worn ; the legs from the knees lost.
960. Poseidon Hippios. Poseidon stands with 1. heel slightly raised ; he is
bearded, and has curly hair, on which is a laurel-wreath tied at the back with a
long ribbon, the ends of which fall on his shoulders. Over his 1. arm is a
chlamys ; in r. hand he holds out a horse's head ; the 1. hand has probably held
I76 CATALOGUE OF BRONZES.
a trident with the prongs downwards. The pupils of the eyes are formed of
garnets.
Ht. 6| in. Blacas Coll., 1867. Good patina. For other instances of the type, which is
probably Lysippian in origin, see Overbeck, Kunstmythol. {Poseidon), p. 317. The hair, beard,
and general expression are strongly characteristic of Zeus.
961. Poseidon. Stands on r. leg, with 1. knee slightly bent, leaning forward ; the
r. foot is supported on a ship's prow, on which a tendril is incised. He has
curly hair and beard, and his 1. hand is raised.
Ht. 4! in. Hamilton Coll. Vaux, Handbook to Brit. Mus. p. 425. Probably a late
Roman copy of the Poseidon of Lysippos. Right arm lost.
962. Poseidon. He stands with r. foot raised and resting on a rock, r. arm
resting on r. knee, and 1. hand raised ; he leans forward and looks upwards ; he
has curly hair and beard, and has held a trident in 1. hand.
Ht. 3! in. Blacas Coll., 1867. Right arm lost.
963. Poseidon. Stands on r. leg, the 1. slightly bent ; on r. hand he holds out a
dolphin, and the 1. is raised, having held a trident.
Ht. i\ in. Blacas Coll., 1867. Face much worn.
964. Bust of Triton. He is youthful and beardless, and looks up to his r. ; the
face and bust are covered with sea-weed (cf. the Scylla, No. 974), which forms
the ears, a dolphin (?) issues from either temple, and above the forehead are two
lobster's or crab's claws. The hair in front is wrought into deep rough waves,
and behind flows in gentle undulations like water ; a curl falls on each shoulder.
Ht. 7| in. From A.quila. Payne Knight Coll. (xi. 10). Spec. Ant. Sculpt, i. pis. 55, 56.
The head is boldly conceived ; the type may have been derived from the school of Scopas.
965. Triton. He is bearded, and human to the waist, below which a fringe of
sea-weed (cf. Cat. of Vases, iv. F 218) marks the junction with the body of a fish
ending in a long sinuous tail ; he wears a fillet, and his hands are extended, the
1. having held the acrostolion of a ship (now lost).
Ht. 1 1 in. Towneley Coll. Both arms broken above the elbows.
966. Triton. He is bearded and human to the waist, below which a fringe of
sea-weed marks the junction with the body of a fish, ending in a long sinuous
tail ; his hair is arranged in two rows of stiff curls, and he supports a flat
basket above his head with both hands.
• Ht. \\ in. Payne Knight Coll. lxxxviii.
967. Triton in relief, to r., beardless, with shaggy hair and a fringe of sea-weed
round the waist, holding up in both hands an acrostolion of a ship.
Ht. 2\ in. Pulsky Coll., 1868 {Cat. 176). Mon. delP Inst. 1854, pi. 17, p. 87 ; Reinach,
Repertoire, ii. p. 412, No. 4. Cf. Zahn, Ornam. u. Gemalde aus Pompeii, iii. 45.
MARINE DEITIES. I 77
968. Fore-part of the River-God Acheloos. He is represented as a bull with
human face, and has bull's horns and strongly-marked dewlap, and wavy beard ;
the fore-legs are drawn up as if springing forward ; the hair is indicated on the
body by incised lines, and the pupils of the eyes are incised.
Ht. 1 1 in.
969. Mask of River-God. He has the horns and ears of a bull, long straight
beard and moustache, fillet passing under the horns, and hair falling in curls.
Ht. 7.\ in. Payne Knight Coll. (xi. 15).
970. Mask of River-God. He is beardless, with hair falling in curls on either
side of his face, narrow ampyx, and bull's horns, the hair between which is bovine ;
the pupils of the eyes are incised.
Ht. i| in.
971. Marine Deity (P). He squats on his knees, holding something in each
hand ; he has lobster's claws on his head, and wears a chlamys.
Ht. \\ in. Hamilton Coll.
972. Naiad. She stands looking down to her r. and holding out a concave shell
with both hands in front of her ; her hair falls in curls on the neck, and she wears
a himation round her lower limbs.
Ht. 3 § in. Rather rudely executed.
973 Bust of Nereus, on a medallion, in high relief. Nereus reclines to r.,
looking to 1., with 1. hand raised to the side of his head, long beard, moustache,
and hair tied in a bow over the forehead, his head covered with drapery ; over
each arm is twisted a sea-monster, the one on the r. arm with head like a
crocodile, the other resembling a large eel ; the first seizes the other by the
upper jaw. His cheeks are covered with sea- weed, which also forms his
moustache ; his eyes are inlaid with silver. On the first monster are seated two
Nereids, and on the second monster is a third Nereid ; the latter looks up at
Nereus, and extends her hand as if playing with his beard (see Arch. Zeit. 1884,
p. 212). All wear himatia leaving the upper part of the body bare, and their
hair is knotted up. Of the two on the 1., one reclines on the lap of the other,
recalling the Aphrodite in the lap of Thalassa in Carrey's drawing of the west
pediment of the Parthenon.
Diam. 3J in. Macedonia (?), 1867. Robert in Arch. Zeit. 1884, pi. 2, fig. 2, pp. 25, 137,
209 ; Magazine of Art, v. p. 375. Robert has suggested that the subject here represented is
Oceanus, with the three personified continents, Europe, Asia, and Africa. Three holes for
attachment to some object.
974. Mask of Marine Deity, embossed in relief; has been attached to some
object. Round the face are rich snaky locks, and in the hair are wings ; over
the forehead, two bull's heads confronted ; the tongue protrudes, and under the
chin are the twisted bodies of two marine animals. On the cheeks ai'e notched
N
178 CATALOGUE OF BRONZES.
lines indicating leaves of sea-weed, as on the head No. 964 ; the eyes have been
inlaid with silver or precious stones. In the top of the head is a long deep
incision, perhaps indicating that it had been inlaid with a snake in silver.
Diam. 3J in. Castellani, 1867. Arch. Zeit. 1884, p. 27. Fine patina. The face at first
sight might be mistaken for that of Medusa, but the dogs' heads, the squareness and power of
the jaws and thin compressed lips give a character of ferocity which seems rather to suggest
Scylla. Cf. a very similar bronze, called by Brunn a marine Medusa, published in Mon. dell'
Inst. viii. pi. 12, fig. 3, and Annali, 1864, p. 378 ; also Arch. Zeit. 1884, pi. 2, fig. 3.
975. Medallion with relief of head of marine deity, perhaps Scylla. The
head is full face, the hair intertwined with dolphins ; two dolphins are also tied
under the neck. In the field are two cuttle-fish, two shrimps, a crab, two cowries,
and another shell-fish.
Diam. 3*- in. Pulsky Coll., 1868. Sale Cat., No. 188.
C. AGRICULTURAL DEITIES (976-986).
976. Demeter, or similar deity, seated in a chair with back and arms, and
cushioned seat. Her r. foot is advanced, and she holds a patera in r. hand, and
in 1. a cornucopia containing bunches of grapes. Her hair is parted and drawn
back, and she wears a sphendone, long girt sleeved chiton, and himation over
lower limbs, veiling her head.
Ht. 3{ in. Legs of chair lost.
977. Demeter (?) seated. Her head is inclined slightly to r., and she holds out
a patera in r. hand and a sort of stand (?) in 1. ; her hair is parted and waved,
and gathered into a knot at the back, with curls falling on the shoulders ; she
wears a sphendone, bulla round neck, long girt chiton, himation over 1. shoulder,
and shoes. The face looks too youthful for Demeter.
Ht. 4 in. Payne Knight Coll. (xx. 1). Traces of gilding remain.
978. Demeter. She stands on 1. leg, and has held out some object in each hand ;
her hair is parted and waved, and she wears shoes, long chiton, and apoptygnia,
and a himation veiling her head, twisted up over 1. arm.
Ht. 2>l in. Payne Knight Coll. (lv. 1). Patina ; hands broken off.
979. Demeter. She holds a sceptre in r. hand (the top broken off), and has
held out some object in the 1. ; she wears long chiton and himation.
Ht. 1 \ in. Rude and worn.
980. Demeter. She stands on r. leg, holding out a patera in r. hand ; she wears
a wreath, long chiton, and himation veiling her head, gathered up over 1. arm.
Ht. 2\ in. Left hand .mil both feet lost.
AGRICULTURAL DEITIES. 179
981. Demeter. She is seated in a chair with a high back ; she wears a long girt
chiton, and himation over lower limbs, drawn over the back of the head as a veil;
in 1. hand she holds a patera.
Ht. 2 in. Payne Knight Coll. (Iv. 3). Right hand broken off; rather worn.
982. Persephone. She stands with r. foot drawn back, looking nearly to the
front ; her r. hand is raised, and may have held a torch ; in 1. is a pomegranate.
Her hair is twisted round a stephane and tied at the back, falling into two long
wavy tresses ; she wears a long girt chiton and himation twisted round waist and
over 1. shoulder.
Ht. d\ in. Payne Knight Coll. (Ixxii. 1).
983. Persephone. She stands on r. leg, looking to her r., with r. hand on hip ;
the 1. is raised, and may have held a torch. Her hair is arranged in two rows of
curls in front and tied at the back ; she wears a long girt chiton with apoptygma.
Ht. 2 f in. Towneley Coll. Very coarse.
984. Head of Demeter (?). She looks up to r. with a pathetic expression ; her
hair is parted and waved, and falls in tresses on the shoulders, and she wears a
sphendon^ ornamented with a palmette and volutes in relief, and a himation
veiling her head.
Ht. 4 -} in. Towneley Coll.
985. Tellus(?) reclining in a half-sitting posture, with feet extended. She looks
to her 1., and holds a patera in r. hand, and a cornucopia in 1. ; she wears an
ampyx, long girt chiton, and himation over lower limbs, veiling her head.
Ht. 1 § in. Length 2\ in. Compare No. 812.
986. Providentia (?). In r. hand she has held some object, and in 1. is a
cornucopia ; her hair is gathered in a top-knot (?), and she wears polos (?), long
chiton, and himation over r shoulder.
Ht. 2\ in. Blacas Coll., 1867. Much worn and obliterated.
D. APOLLO AND KINDRED DEITIES (987-1030).
987. Apollo. He stands with 1. foot drawn back, r. hand extended, and 1. hand
raised ; he wears a chlamys over 1. arm, and his hair is tied in a bow in
front and gathered up at the back under a fillet.
Ht. 2 ft. 5] in. Towneley Coll. ; purchased at Choiseul Sale in Paris, 1774. Museum
Marbles, iii. pi. 7 ; Caylus, Recueil des Antiqs. ii. pi. tj ; Clarac, Muse'e de Sculpt, iii. pi. 494,
960 ; Ellis, lowneley Gallery, i. p. 277 ; Edwards, Lives of Founders of Brit. Mus. i. p. 378 ;
Amelung, Basis des Praxiteles, p. 49 (calls the figure Dionysos) ; Klein, Praxiteles, p. 164.
Surface corroded. Ancient base.
N 2
l8o CATALOGUE OF BRONZES.
988. Apollo. He stands on r. leg, the 1. slightly bent ; in r. hand he holds out
an arrow, and in 1. is his bow, strung. His hair is parted, waved, and rolled up
in a knot at the back, and he wears a sphendone on which is an incised chevron
pattern, tied with a fillet, the ends of which fall over his shoulders ; his quiver is
slung by a belt over his r. shoulder.
Ht. 4 in. 1873.
989. Apollo. He stands on r. leg, the 1. slightly bent, his arms hanging by his
sides ; the r. has held his bow, and in 1. is part of an arrow. His hair is knotted
at the back, and falls in curls on the shoulders, from under a laurel-wreath ; his
quiver is slung by a belt over his r. shoulder.
Ht. 4| in. Rhodes, 1856 (?) ; obtained by Sir C. Newton.
990. Apollo. He stands on r. leg, the 1. slightly bent ; the r. arm is advanced,
and the hand, which is lost, has probably held a bow ; the 1. hand hangs by his
side, and holds part of an arrow. His hair is rolled up in a knot at the back,
with a tress over each shoulder ; a quiver is slung by a belt over his r. shoulder.
Ht. 5! in. Much corroded. The eyes have been inlaid. The head is copied from an
example of the fourth century B.C., and resembles the Aphrodite, No. 266, and the Dionysos,
No. 1326.
991. Apollo. Stands on r. leg ; he has long tresses falling over shoulders and
wears a laurel-wreath, and his quiver is slung over r. shoulder.
Ht. 2\ in. 1848 (Christie and Manson's Sale Cat. 21 June). In bad condition ; left leg
below knee and both arms lost.
992. Apollo. Stands on r. leg, with 1. advanced, holding an arrow in r. hand,
and in 1. part of a bow ; his hair falls in a sort of queue down the back. A
support has been fixed to the back, and on the top of the head are two
projections for the support of some object.
Ht. z\ in. Payne Knight Coll. (v. 5). Legs below knees lost ; very rude.
993. Apollo. He stands on r. leg, the 1. slightly bent ; his 1. elbow rests on a
column (modern), towards which his body is inclined, the head turned to his 1. ;
his r. hand rests on his thigh. His hair is tied in a bow on the top of the
head, and twisted over a sphendone on each side, with long curls falling over the
shoulders.
Ht. 5J in. ; with the base, which may be ancient, 6} in. Payne Knight Coll. (v. 4).
Chirac, Musde de Sculpture, iii. pi. 474 B, No. 954 G. Right foot lost.
994. Apollo. He has stood on r. leg, with 1. leg advanced ; his hair is plaited Plate
over each temple and rolled up at the back, with a small curl in front of each XXVIII.
ear ; the head is slightly inclined to his r.
lit. 5] in. In bad condition ; the right leg from the knee is lost. The features and
arrangement of the hair are slightly archaic.
STATUETTES OF ARTEMIS, ETC. 1 8 1
995. Apollo. He stands on r. leg, the 1. slightly advanced ; in his r. hand is
part of a bow, and his 1. hand is held up with open palm. His hair is parted
and waved, and rolled up at the back with a tress on each shoulder ; a quiver
hangs over his r. shoulder.
Ht. 4£ in. ; with the base, which may be ancient, 5^ in. Hertz Coll., 1859 {Cat. 158).
Both hands are injured, and the toes of the right foot are lost.
996. Deer, apparently dead, slung up by the fore-legs, the head hanging down
over the back. It has probably been held in the hand of a figure of Apollo or
Artemis, perhaps an Apollo after Canachos (see No. 209).
Ht. 13^ in. Payne Knight Coll. (xxv. 2). Proc. Soc. Anliqs. Ser. 2, xi. p. 251.
Artemis and Hecate (997-1014).
997. Marciana as Artemis (?). She stands with 1. foot advanced and r. drawn
back ; 1. hand extended, holding a bow which is strung, r. hand raised to
shoulder and drawn back as if she had just shot an arrow. She is nude, and her
hair is rolled round her head in a thick coil knotted at the back, with three
plaits passing over the head from forehead to nape of neck. The features
resemble those of Marciana (cf. Bernoulli, Rom. IkonograpJiie, ii. pt. 2, pi. 31).
Ht. io£ in. (with ancient base). From Pompeii (?). Hertz Coll., 1859 {Sale Cat. No. 1870).
There is a hole in the left buttock. The bow is restored.
998. Artemis. She stands on r. leg, the 1. slightly bent, looking to her r. ; in 1.
hand she holds her bow, strung, and with r. she draws an arrow from her quiver,
which hangs behind her r. shoulder. Her hair is tied in a bow on the top of
the head, with a knot at the nape of the neck, and a long curl over each
shoulder ; she wears a short girt chiton with apoptygma, and endromides.
Ht. 3fin. Castellani, 1873.
999. Artemis. She holds out a bow in r. hand, of which only a fragment
remains ; a quiver is slung over her r. shoulder ; she wears a short girt chiton
and endromides.
Ht. 3! in. Left arm and left foot broken. Very rude and barbaric work.
1000. Artemis. She stands on the toes of the 1. foot, the r. foot raised ; she wears
a short girt chiton and endromides, and a belt or panther's skin over r. shoulder ;
r. arm raised.
Ht. 2 -J- in. Rhodes (?), 1874; acquired from Mr. Biliotti. Fore-arms broken off; very
rude.
1001. Artemis. She stands on r. leg, the 1. slightly bent, with r. hand raised to
her head, and 1. on her hip ; behind her r. shoulder hangs her quiver. Her hair
is tied in a bow on the top of the head, with tresses falling on the shoulders ;
jg2 CATALOGUE OF BRONZES.
she wears a short chiton, over which is a fawn-skin fastened on the r. shoulder
and crirt with a broad belt which has been inlaid with studs, and endromides.
Ht. 4| in. Towneley Coll. In the top of the head is a hole for suspension.
1002. Artemis. She stands on r. leg, the 1. slightly bent ; her 1. hand rests on
' her hip, and the r. is raised to the level of her head, with forefinger pointing
upwards. Her hair is rolled round two horns on the top of her head, in the
form of a crescent ; she wears a short girt chiton, chlamys wrapped round 1. arm,
and endromides, and a quiver is slung over her r. shoulder.
Ht. 5l in., with ancient base. Very barbarous work.
1003. Artemis. She stands on r. leg, the 1. slightly bent, holding out a patera in
r hand ■ the 1. is raised above her head, and has held some object. Her hair is
knotted' at the nape of the neck, and she wears a sphendone, short girt chiton
with apoptygma, leaving r. shoulder bare, and endromides ; a quiver is slung over
her r. shoulder. On the back of the girdle is a pattern of parallel wavy lines
and stamped dots.
Ht. 3 in. Blacas Coll., 1867. Left foot lost ; in bad condition.
1004. Artemis. She has long hair, short girt chiton, chlamys over 1. shoulder,
and panther's skin on r., the spots indicated by silver discs ; her r. hand is
advanced, and has held some object, and the 1. hangs by her side.
Ht. 2\ in. Hamilton Coll. 86. Very much worn ; both feet wanting.
1005 Bust of Artemis. She looks to her r. ; her hair is tied in a bow on the top
' of the head, with tresses falling on the shoulders ; she wears earrings and a
fawn-skin, the feet of which are knotted on her r. shoulder.
Ht. 3i in. Payne Knight Coll. (xxvi. 2). Eyes inlaid in silver.
1006. Bust of Artemis. The head is slightly turned to 1. ; the hair is partly
' tied in a bow on the top of the head, partly gathered in a knot behind ; she
wears a crescent-shaped stephane, earrings, and chiton, the sleeves of which are
fastened with studs.
Ht. 2\ in. Hamilton Coll.
1007 Head of Artemis, broken off from a bust. She wears earrings ; hair as the
last but one.
Ht. 1^ in.
1008 Bust of Artemis, with crescent on head, chiton, and hair knotted at the
nape of the neck.
Ht 2 in. From Zante ; purchased 1846. Has been attached to some object.
1009 Artemis riding on a boar. She is seated astride on the boar, which moves
' rapidly ■ she wears a short girt chiton and endromides, and has held some object
in 1. hand.
Ht. 2 in. Length 2\ in. Payne Knight Coll. The head and right fore-arm of Artemis
and the boar's hind-legs and left fore- leg are lost.
STATUETTES OE HECATE, ETC. 1 8
.1
1010. The Ephesian Artemis. A stiff figure of archaic type, with feet close Plate
together, r. hand raised to her head, 1. arm bent ; her hair is arranged in parallel XXVI I.
rows of curls, surmounted by a high polos, on which is a lotos-flower in relief.
She wears a long chiton, over which is a robe divided in front into square
compartments, in which are reliefs of heads and other objects, too much worn
to be made out ; on the back between the shoulders is an eagle (?) with wings
spread, and below each arm a relief of a thunderbolt.
Ht. 2} in. Hamilton Coll. 193.
1011. Hecate Triformis. Each figure wears a long girt chiton with ap.ptygma,
and stephanh ; their hair falls in curls on the shoulders, and a polos rises in the
space between the three heads. One figure holds a torch in r. hand, the 1. being
broken away ; the hands of the one on her 1. are wanting ; the one on her r.
holds up a hound, of which the fore-legs rest against her 1. hand, and the hind-
legs against her skirt. On the analogy of similar figures, the second would have
held a snake.
Ht. 3 in. Hamilton Coll. 177 d. Arch.-epigr. Mittheil. aus Oesterr. v. p. 70, ;;/. The
hands of all three are injured, and the figure of the hound is much worn.
1012. Hecate Triformis. The body is in the form of a tound pillar, draped with
long chiton and apoptygma ; the arms are represented by short stumps. Above
the heads has been a ring for suspension.
Ht. f in. Very rude work.
1013. Hecate. She wears a crescent over the forehead, long chiton, and himation
over 1. shoulder ; her hair is drawn back and gathered in a knot at the nape of
the neck. She holds out a whip in r. hand, and a thong (?) in 1.
Ht. 3x in. Castellani, 1873. ln fine condition. For the whip, cf. Midler- Wieseler,
Denkm. d. a. Kunst, ii. No. 895, and Roscher, Lexikon, s.v. Hekate, p. 1909.
1014. Hecate. She stands on r. leg, turning slightly to her r. ; the arms are
advanced, as if she had held a torch in each hand. She wears long chiton with
apoptygma, and himation over 1. arm ; her hair is gathered in a knot behind, and
over her forehead is a crescent-shaped stepJiand.
Ht. 3x in. 1855. Rather coarse ; right hand lost.
1015. Helios. He stands on r. leg, with r. arm extended, and 1. hand held out Plate
with bent fingers, having held some object ; the hair is arranged in flame-shaped XXV1I1
curls, and on his head is a radiated fillet tied in a bow at the back. He wears a
chlamys fastened with a brooch on r. shoulder, passing over 1. shoulder and 1.
fore-arm. The attitude is Praxitelean, and the type may be borrowed from
some statue by that sculptor.
Ht. 5| in. Castellani, 1865. Torr, Rhodes in Ancient Times, pi. 4. Right fore-arm lost.
1016. Deus Lunus (?). He has been seated astride a horse, and has held a spear
or similar object in 1. hand ; he is beardless, with curls over the forehead, Phrygian
184 CATALOGUE OF BRONZES.
cap, short sleeved girt chiton, chlamys over shoulders, fastened on the r. with a
brooch, anaxyrides, and boots.
Ht. \\ in. Strangford Coll., 1864. Right arm wanting. Perhaps merely intended for a
Phrygian horseman.
1017. Mithras. He kneels on 1. knee, about to slay a bull, which is now wanting •
his 1. hand has grasped it by the horn, and his r. has been stabbing it in the
neck ; his r. leg is outstretched behind, and he looks up to his r. He is beardless,
and wears Phrygian cap, short sleeved chiton with apoptygma, chlamys fastened
with a brooch on r. shoulder, and shoes fastened at the ankles ; the chlamys
originally floated behind, but part has been cut off.
Ht. 5! in. Castellani, 1873. Both hands lost. The type is familiar from many Graeco-
Roman marbles ; cf. Brit. Mus. Guide to Graeco-Roman Sculptures, 1879, '■ P- 82.
1018. Head of Mithras. He looks upwards, inclining slightly to r. ; he wears a
radiated Phrygian cap with six points, and his hair is arranged in flame-shaped
curls round the face.
Ht. 2 in. Towneley Coll. Broken off at neck.
1019. Bust of Apollo (?). Hair arranged in two rows of thick curls all round
the face ; drapery over 1. shoulder and under r. arm.
Ht. 3I in. Hollow at the back.
1020. Atys. He dances on tiptoe, with r. foot advanced, looking to the front"; his
r. hand is placed on the top of his head, and 1. held out with some object (now
lost). He is beardless, and wears a Phrygian cap with flaps, under which wavy
curls are shown, and a garment with long sleeves, girt at the waist ; it hangs in
loose folds above the girdle, and opens out as if blown back below, showing the
body from the waist to the thighs. This garment is continued to the ankles as
anaxyrides open in front and looped at intervals with studs ; on his feet are
boots fastened at the ankles.
Ht. 4| in. From Southern Italy. Payne Knight Coll. (x. 2). Similar figures are
illustrated in Gronovius, Thesaur. Autiq. Graec. i. pi. S.
1021. Atys. He stands with 1. foot advanced, looking to his 1. towards some
object which he has held in both hands ; both arms are raised towards his 1.
He is of youthful appearance, with curly hair, and wears a Phrygian cap, anaxyr-
ides, and a short chiton girt above the waist, with a fold falling over nearly to
the hips, and short sleeves.
Ht. 3| in. Found near Mount Vesuvius. Hamilton Coll. 166. Arms and left leg restored.
1022. Atys. He stands with legs wide apart, throwing the weight of his body on
the 1., inclining his head to 1. and looking to r. He is of youthful appearance,
with curly hair, and wears a Phrygian cap, anaxyrides twisted round the hips, and
endromides. In r. hand he holds up a disc, and in 1. a. pedum.
Ht. 4^ in. Hamilton Coll. 122. The right hand appears to be restored; the right side
has been cut away for attachment to some object.
ATYS AM) MUSKS. 1 85
1023. Atys, on a relief from the handle of a vase. lie moves to r., leading a
horse by the bridle, of which only the fore-part is visible ; his appearance is
boyish, and he has curls over the forehead, Phrygian cap, and auaxyrides, which
are supported by straps crossing over the shoulders, and leave the body nude.
Above is a head to r. with curly hair and a Phrygian cap, from which hang two
laurel-branches.
Ht. 3! in. Towneley Coll. Schreiber, Alexandr. Toreutik, p. 373, No. 157.
1024. Bust of Atys, issuing from the calyx of a flower, which rests on a lion's
paw. He is beardless, and wears a Phrygian cap with flaps.
Ht. 2^ in. Payne Knight Coll. Rather worn.
1025. Head, of Atys. He is beardless, with long curls, and wears a Phrygian cap.
Ht. if in. Bequeathed by Miss Auldjo, 1859. Flat at the back; has served as an
ornament.
1026. Mask of Atys (?). He is beardless, with two long curls on each side of
the face, and conical cap ; the eyebrows are marked. The features seem rather
harsh and mature for Atys.
Ht. i{ in. From Corfu. Woodhouse Coll., 1868.
Muses (1027- 1030).
1027. Clio. She stands on r. leg, looking to her 1. at a diptychon, or pair of
tablets, held in 1. hand ; in r. is a stylus, the point of which is placed on the
tablets. Her hair is waved each side over a spheudone and gathered in a knot
at the back, and she wears long girt chiton and himation fastened round waist.
Ht. 1 J in.
1028. Erato. She stands on 1. foot, with head slightly inclined to her r., holding
in r. hand a plectrum, and in 1. a lyre (top broken off). Her hair is parted and
waved ; she wears a spJie)idonc, long girt chiton, and apparently a himation falling
from the shoulder behind.
Ht. 2| in. Towneley Coll. Partly hollowed out behind.
1029. Melpomene. She stands on 1. leg, holding out a tragic mask in 1. hand ;
her r. hand falls by her side, the fingers closed over some object. Her hair is
waved and drawn back ; she wears a long sleeved chiton and himation over 1. arm.
Ht. i\ in. 1859. Flat at the back.
1030. Thaleia. She looks to her 1., and holds up a comic mask in front of her
face with both hands ; her hair is tied in a bow on the top of the head and
knotted at the nape of the neck, and she wears a wreath (?) and himation over 1.
shoulder and arm.
Ht. 3 in. 1S59. Feet wanting ; features partly obliterated ; much corroded.
i86
CATALOGUE OF BRONZES.
E. HEPHAESTOS, ATHENE, AND ARES (1031-1078).
1031. Hephaestos. He stands on r. leg, the 1. slightly bent, having held out
some attribute (now lost) in r. hand ; he has curly hair and beard, and his eyes
have been inlaid. He wears a conical leather cap with two notches at the back,
and an exomis over 1. shoulder, falling in a fold over the girdle.
Ht. 8 J in. From Greece. Pulsky Coll., 1868 {Cat. 100). Reinach, Repertoire, ii. p. 39,
No. 7. Left arm and right forefinger lost ; otherwise in excellent condition. Green patina.
1032. Hephaestos. Stands on r. leg, the 1. slightly bent, r. hand extended, 1. by
his side ; he has held some object in each hand. He has richly curled hair and
beard, conical cap, exomis reaching nearly to knees, leaving r. shoulder bare, and
endromides ; the pupils of the eyes are hollow.
Ht. 6| in. Payne Knight Coll. Spec. Ant. Sculpt, i. pi. 47 ; Clarac, Muse'e de Sculpt.
v. 831, 2086 ; Braun, Kunstmythologie, pi. 99 ; Baumeister, p. 642, fig. 713 ; Smith, Diet. A fit.3
i. p. 814. Left fore-arm restored.
1033. Hephaestos. Stands on 1. leg, with r. heel raised, and both hands
extended, having held objects now lost ; he wears an exomis girt round the
waist, and a conical cap.
Ht. 4| in. Hamilton Coll. 17.
Tyf-es of Athene (1034-1070).
1034. Athene as Promachos. She moves to her 1., with 1. leg advanced and r.
hand raised, having held a spear. Her hair is rolled and tied at the neck, and
she wears a Corinthian helmet, aegis with Gorgoneion and border of snakes,
sandals, and long chiton over which is a garment fal'ing in pteryges down r. side
to the feet and girt at the waist.
Ht. 7l in. ; with base, 9J in. Payne Knight Coll. (xiii. 2). Spec. Ant. Sculpt, i. pi. 13.
The base is hexagonal, with three steps in front, and probably ancient. It is however rather
doubtful whether the whole figure may not be a modern casting from some other original, as
the surface is not satisfactory.
1035. Athene. She looks to r., with 1. hand by her side, and r. raised, having
held a spear ; her hair is tied at the back, and she wears a helmet with frontal
ridge and a Sphinx couchant on the top from which the crest hangs down as if
it were a continuation of the tail of the Sphinx, long girt chiton and apoptygma,
and aegis with Gorgoneion and fringe of snakes falling over bosom and back
like a tippet. Her 1. hand has rested on a shield ; the eyes are inlaid with
silver, the pupils hollow.
Ht. 6'2- in. ; with ancient base, 8g in. Castellani, 1873.
STATUETTES OF ATHENE. 1 87
1036. Athene. She stands on r. leg and her arms have been extended ; she
wears a crested Corinthian helmet, aegis, long chiton and peplos.
Ht. 2| in. Left arm and right fore-arm lost ; very rude.
1037. Athene in Promachos attitude. She stands on 1. leg, r. hand raised, holding
a spear (restored), 1. by her side, having rested on a shield (now lost). She has
long hair tied at the neck, long-crested helmet, long chiton gathered under the
girdle in a fold reaching to the hips, and apoptygma, and aegis of scales over
breast and back.
Ht. 3 in. Hollis Coll. Ancient flat base.
1038. Athene. Stands on r. leg with r. hand extended, and shield on 1. arm on
which a wheel is incised ; she looks down to r., and wears a crested Corinthian
helmet, aegis, and long girt chiton and apoptygma.
Ht. 3 in. Rather poor style.
1039. Athene. She stands with 1. foot advanced and r. drawn back, r. hand raised,
having held a spear ; her 1. hand has rested on her shield (now lost). She
wears a crested helmet, long chiton, and himation twisted round the waist.
Ht. 3! in. Rather worn ; left hand corroded.
1040. Athene. She stands on 1. leg, with 1. hand extended, having held shield,
in r. hand a modern spear ; she wears a helmet with long plume, stephane with
incised chevron pattern, aegis with Gorgoneion, long chiton, and himation
twisted round waist and over 1. arm.
Ht. 3f in.
1041. Athene. Similar to No. 1036; she is of slender proportions, and wears
crested helmet, aegis, long chiton and peplos.
Ht. 2| in. Right foot and both arms lost ; very rude.
1042. Athene. She stands on 1. leg, with head inclined to r. ; r. hand raised and Plate
1. hand extended as if having held spear and shield. She has wavy hair tied in XXIX.
a club behind, aegis with Gorgoneion, long chiton with apcptygma, and himation
over 1. shoulder ; her helmet has a high ridge over the forehead, ornamented
with leaves incised, and a long crest down the back. The eyes have been inlaid.
Ht. 4! in. Castellani, 1873. In bad condition.
1043. Athene. She stands on 1. leg, with hands extended ; she wears helmet
with frontal ridge, aegis with border of snakes, high-girt chiton, and peplos.
Ht. 3I in. Hamilton Coll. 151. Right fore-arm, left hand, and crest of helmet lost.
1044. Athene. Stands on 1. leg, the r. drawn back, 1. arm bent and r. hand
raised to shoulder ; her hair is tied in a small club, and she wears a crested
helmet, long chiton falling over the girdle, himation over 1. shoulder fastened
1 88 CATALOGUE OF BRONZES.
round waist, and aegis covering breast and back. The eyes have been inlaid ;
the 1. arm has held a shield, and the r. hand a spear.
Ht. 2>l in. Hollis Coll. Type as No. 1042.
1045. Athene. She stands on r. leg, looking to her r., holding out a phiale in r.
hand, in 1. a spear (modern) ; her hair is tied in a small club, and she wears a
high-crested helmet, aegis with scales and Gorgoneion, high-girt chiton, and peplos.
Ht. 4| in. Payne Knight Coll. (lxi. 1).
1046. Athene. She stands with 1. hand on hip and r. hand raised nearly to her Plate
face ; she wears a helmet with three crests, aegis wrapped round 1. arm, and XXIX.
high-girt chiton with apoptygma reaching to the hips.
Ht. 4| in. Castellani, 1873. Poor style.
1047. Athene. She stands with both arms bent and extended in front of her ;
the r. hand has probably held a phiale. Her hair is tied in a small club, and she
wears a Corinthian helmet, aegis with Gorgoneion and borders of snakes, falling
like a tippet in front and behind, high-girt chiton, and peplos.
Ht. 2\ in. From Corfu. Woodhouse Coll., 1868. Hands lost.
1048. Athene. She stands on 1. leg-, looking; to her r. ; both arms have been held
out. She wears a helmet (crest broken off), round which is a wreath, aegis with
Gorgoneion, long chiton, and himation over 1. arm.
Ht. 3! in. Hamilton Coll. Both arms broken.
1049. Athene. She moves rapidly forward, wearing a high-crested helmet, the Plate
crest supported by a seated Sphinx, long chiton and peplos, and a scarf crossed XXIX.
over her breast. She has wavy hair tied at the neck, and her drapery is blown
backwards with the rapid movement ; on each side of the helmet is a Pegasos
and a ram's head.
Ht. 4 in. From Rome. Caste'lani, 1884 {Sale Cat. 453). Arms and feet lost. Good
style, but much corroded.
1050. Athene. She moves rapidly forward with 1. leg advanced, head slightly
inclined to her r., and r. hand extended. Her hair is rolled all round and tied
at the neck ; she wears a helmet with frontal ridge, aegis with Gorgoneion
hanging over breast and back, high-girt chiton, and peplos.
Ht. 7| in. Payne Knight Coll. (xiii. 1).
1051. Athene. She stands on 1. leg, and wears high-girt chiton, peplos, and aegis Plate
over r. shoulder confined by the girdle, with Gorgoneion and border of snakes ; XXVIII.
her helmet has three crests, the centre one resting on a Sphinx couchant ; her
drapery falls in pteryges down her r. side.
Ht. 4 in. Castellani, 1873. Murray, Creek Bronzes {Portfolio, April, 1898), p. 55.
Both arms lost.
STATUETTES OF ATHENE. 1 89
1052. Athene. She stands with r. foot drawn back, holding out a phiale in r.
hand ; her 1. hand is raised, and has held a spear. She wears a crested helmet,
aegis with scales and Gorgoneion, long chiton, and himation over 1. shoulder.
Ht. 2 J in. Hamilton Coll. 124. Left hand broken off.
1053. Athene. She stands on r. leg, holding out & phiale in r. hand ; the 1. hand
has been raised, holding spear. She wears a crested helmet, aegis with
Gorgoneion, long chiton and himation over 1. shoulder.
Ht. 2| in. Hamilton Coll. 192. Left arm lost.
1054. Athene. She wears crested helmet, aegis with Gorgoneion, long chiton and
himation.
Ht. \\ in. Blacas Coll., 1867. Right hand and left arm lost.
1055. Athene. She stands with 1. leg bent, 1. hand by her side with open palm,
and in r. hand she holds up a serpent at which she looks down. She wears a
crested helmet, aegis with border of snakes, peplos, and himation.
Ht. 4x in. 1898. Fingers of left hand and crest of helmet injured. Ancient moulded
base, which apparently does not belong. Greek workmanship of a good period.
1056. Athene. She stands on r. leg, looking to her 1., holding a spear in r. hand ;
she has short hair and wears a crested Corinthian helmet and himation over 1.
shoulder, which she holds up with 1. hand.
Ht. 5 in. Hamilton Coll. 13. Coarse Roman work.
1057. Athene (?). She moves forward with 1. foot advanced, and holds out a
helmet with both hands in front of her ; her hair is drawn down each side of her
face, and she wears a helmet shaped like a Phrygian cap, ornamented with rings,
armlets, bracelets, and long girt chiton fastened with brooches on the shoulders.
At the back are two large loops from the shoulders to the helmet.
Ht. 4 in. Bequeathed by Sir W. Temple, 1856.
1058. Athene, upper part of. The figure is cut off at the knees and fixed in a
hollow base ; she holds out a phiale in r. hand, and her 1. is raised and has held
a spear. She wears a crested helmet, aegis with Gorgoneion, long sleeved
chiton, and himation over 1. shoulder.
Ht. 2| in. Towneley Coll. In the front and back of the base are holes. Late style.
1059. Bust of Athene. The hair is waved each side, and gathered back and
tied at the neck, with three tresses falling over the aegis ; she wears a chiton
with looped-up sleeves, himation over 1. shoulder, and aegis of scales fastened on
r. shoulder, with border of snakes and Gorgoneion in front. On her head is a
Corinthian helmet, with crest in the form of a Sphinx seated to the front with
recurved wings (one broken) ; on the visor are two ram's heads turned towards
each other (cf. the terra-cotta bust in Brit. Mus. Cat. of Vases, iii. E 716). The
body of the Sphinx is perforated as if for suspension.
Ht. 6| in. Found near Rome. Payne Knight Coll. (lxi. 3). Spec. Ant. Sculpt, ii. pi. 47.
I9O CATALOGUE OF BRONZES.
1060. Bust of Athene. She has richly-waved hair, and wears a Corinthian
helmet with crest and an oblong projection on each side, aegis with Gorgoneion
and pattern of vine-leaves, and chiton.
Ht. 4| in. Towneley Coll. Late and very rude work. The back is filled in with lead,
and it has probably been used as a weight.
1061. Bust of Athene. She wears a Corinthian helmet with incised volutes and
large crest.
Ht. 2\ in. Towneley Coll. Late style ; broken off below the chin.
1062. Bust of Athene. Her hair is waved, and she wears a Corinthian helmet
with large crest and aegis with scales and Gorgoneion.
Ht. 2\ in. Castellani, 1873. Has been attached as an ornament to some object, of
which a portion remains.
1063. Bust of Athene. She looks down to her 1. ; her hair is waved each side,
and she wears a crested Corinthian helmet, aegis with Gorgoneion and scales,
and a cuirass.
Ht. 5! in. Towneley Coll.
1064. Bust of Athene. Hair waved on either side of the face ; Corinthian
helmet with large crest and incised patterns.
Ht. if in. Presented by General Meyrick, 1878. Has been attached to some object.
1065. Bust of Athene. Her hair is waved and knotted at the back ; she wears a
helmet with large crest, and ornamented with various patterns, and aegis with
border of snakes.
Ht. I \ in. Towneley Coll.
1066. Bust of Athene. Her hair is waved, and she wears a Corinthian crested
helmet and aegis.
Ht. 1 1 in. Payne Knight Coll. (lxi. 4). Helmet injured.
1067. Bust of Athene, with hair waved over the ears, wearing Corinthian helmet,
raised ; behind is a flower of many petals, at the back of which is a bar, pierced
with a hole.
Ht. 2! in. Castellani, 1873. Good work, but worn. Has been used as a weight.
1068 Bust of Athene. She wears a Corinthian helmet with a large crest on each
side, and aegis with Gorgoneion ; the face is slightly upturned, and the hair
waved.
lit. 4.; in.: witli ancient base, 6| in. Very coarse style; in bad condition from over-
cleaning.
STATUETTES OF ARES, ETC. 191
1069. Bust of Athene. The hair is waved, and falls in curls on the neck ; the
r. hand holds a ball or apple against her breast, and the 1. adjusts the drapery on
the 1. shoulder. She wears a helmet with large frontal ridge, surmounted by a
crouching Sphinx, aegis with cross-belt, and chiton.
Ht. 4J in. Towneley Coll Crests of helmet broken off.
1070. Head of Athene. Her hair is waved, and she wears a Corinthian helmet ;
her head is inclined slightly to her r.
Ht. ii in.
Ares (1071-1078).
[On bronze figures of Ares, see Jahrb. d. Vereins von Altertionsfr. im Rheinl. liii. p. I f{.]
1071. Ares. He stands on r. leg, and has held a spear in 1. hand ; his r. hand Plate
hangs by his side ; he has shaggy hair and beard, and wears a Corinthian helmet, XXIII.
cuirass, short chiton, and greaves. The crest of the helmet is modern ; the
greaves are fastened with a strap at the back. The cuirass is richly ornamented,
and has a winged Gorgoneion in front, below which is a flower with tendrils and
rosettes issuing from a calyx ; above it is perched an eagle to the front looking
to r.,with wings spread ; on the shoulder-straps are lions' masks in relief. Below
the cuirass is a double row of oblong straps ; on the upper row are rosettes
in relief in front and quatrefoils punched in behind ; on the lower, lions' masks
to the front.
Ht. 8 in. Hamilton Coll. 3. Hands and feet restored. The attitude of the greaved left
leg recalls the Piot leg, no. 265 (q.v.) ; possibly that leg is from a colossal statue of Ares.
1072. Ares. He stands on 1. leg, looking to his 1. ; his r. hand is raised in front of
his breast and 1. hand bent inwards, as if he had held a spear obliquely across
his body. He is bearded, with curly hair, Corinthian helmet, chlamys wrapped
round 1. arm and fastened with a brooch on r. shoulder, and sandals.
Ht. 2>l 'n. Hamilton Coll. 12. Crest of helmet broken ; 1. leg repaired ; feet modern.
1073. Ares. He stands on 1. leg, with r. hand raised to his head and touching
the helmet ; in 1. he holds a sword in its scabbard. He is beardless, and wears
a cuirass with shoulder-straps and a border of long straight flaps below, short
chiton, chlamys over 1. shoulder and twisted round 1. arm, straps wound round
the thighs, greaves, and boots. A groove as if for inlaying is cut down the backs
of the legs.
Ht. 6J in. Castel'ani, 1873. Both legs restored. At the back is a rectangular cavity.
1074. Ares. He stands on 1. leg with r. hand on hip, holding a spear in 1. hand
sloped over 1. shoulder ; he is beardless, and wears a conical crested helmet with
cheek-pieces turned in each side. A hole is bored in the 1. elbow.
Ht. 5i in. From Southern Italy (?). Woodhouse Coll., 1868. Green patina. Top and
bottom of spear broken off.
I92 CATALOGUE OF BRONZES. -
1075. Ares. He stands on r. leg, holding a sword in its scabbard in r. hand ; on
the scabbard is an ivy-branch. His 1. hand is raised and has held a spear ; he
is beardless, and has curly hair and a crested Corinthian helmet on which
volutes are incised.
Ht. 3] in. 1851. Sale Cat. (Sotheby and Wilkinson), 6 May, 1851, lot 83*.
1076. Ares. He stands on 1. leg, looking to his r. ; his 1. arm is raised, the hand
now lost, and in r. hand he holds a patera. He is beardless, and has a crested
helmet, short girt chiton, cuirass with two rows of flaps below, and greaves ; a
sword in its scabbard is slung over r. shoulder.
Ht. 3 1 in. Right hand restored.
1077. Are?. He is nude and beardless, with curly hair, and Corinthian helmet Plate
raised ; he turns slightly to his r., and his 1. leg is drawn back. XXIV.
Ht. 6} in. Bunsen Coll. Furtwaengler, Meisterwerke, p. 423 ; id. English ed. ii. p. 230.
Right arm lost. Late date. The figure recalls the motive of the Doryphoro; of Polycltitos.
1078. Head of Ares. He is beardless, with hair arranged in curls, and helmet
with crest and two large plumes, one of which is broken off.
Ht. 1 1 in.
F. TYPES OF APHRODITE (1079-1124).
a. CNIDIAN (?).
1079. Aphrodite. She stands on 1. leg, with r. leg bent, and looks down to her r. ;
she is nude, with hair in wavy lines gathered under a spJiendont: and fillet in a
large knot at the back. The type may be derived from the Cnidian Aphrodite,
and the expression of the face seems to support this view.
Ht. 10J in. Frcm Syria. Greau Coll., 1885. Frohner, Coll. Greau, pi. 24, no. 925 ;
Reinach, Rrpci to/re, ii. p. 364, No. I. The arms are wanting, and appear to have been cast
separately ; the legs have been bent out of the perpendicular.
b. Fastening Sandal.
1080. Aphrodite. Type resembling Nos. 280, 282, but of later date. She stands
on r. leg, and lifts up the ]., to which she applies her r. hand, as if to fasten the
sandal, which is not shown ; her 1. is raised to preserve the balance. She is
nude, with hair rolled up in a knot at the back, and a tress over each shoulder.
' Ht. 5 in. From Corfu. Woodhouse Coll., 1868. Bernoulli, Aphrodite, p. 332, No. 18;
Tottier and Reinach, Ktcropole <le Myrina, i. p. 286, No. 15. Green patina.
1081. Aphrodite fastening her sandal, type of. She stands on r. leg, with
1. leg lifted, on which she places r. iiand, but she has no sandals ; she is nude,
with hair gathered in a knot at the nape of the neck, and high turreted stephank.
STATUETTES OF APHRODITE. 1 93
The 1. hand holds an apple, and rests on a steering-oar over which hangs
drapery, the lower part lost.
Ht. 3i in. Towneley Coll. Bernoulli, Aphrodite, p. 333, No. 22 ; Pottier and Reinach,
Nt'cropole de Myrina, i. p. 286, No. 19.
1082. Aphrodite : type as last. She stands on r. foot, and is about to place
r. hand on 1. foot, which is lifted up ; sandal on r. foot. She is nude, with hair
rolled up each side, gathered in a knot at the nape of the neck, and falling in
tresses over the shoulders, armlets, and bracelets ; her 1. arm rests on a plain
column (modern).
Ht. 3! in. Hamilton Coll. Bernoulli, Aphrodite, p. 333, No. 21 ; Pottier and Reinach,
Ne'cropole de Myrina, i. p. 286, No. 18.
1083. Aphrodite fastening her Sandal. Attitude as the last ; her hair is tied
back at the neck and falls in a club ; she has a step hank with perforated edge, and
drapery as No. 829, forming a canopy over her head. She stands on a helmet.
Ht. 7i in. Payne Knight Coll. (xc. 3). Vaux, Handbook to Brit. Mus. p. 428 ;
Bernoulli, Aphrodite, p. 333, No. 20 ; Pottier and Reinach, Ne'cropole de Myrina, i. p. 286,
No. 17. Roman period.
C. ANADYOMENE ; WRINGING OR KNOTTING UP HAIR.
1084. Aphrodite Anadyomene. She stands with both hands raised, as if about Plate V.
to place a fillet round her head ; her r. leg is drawn back ; she is nude, and
her hair is waved each side and gathered under a broad fillet into a knot at
the back.
Ht. iof in. 1865. Pourtales Coll. {Cat. 562). Klein, Praxiteles, pp. 286, 287, figs. 48-50 ;
Mansell, Brit. Mus. Photographs, No. 873 ; Murray, Greek Bronzes, p. 69 ; Reinach, Repertoire,
ii. p. 341, No. 4, p. 343, No. 10 ; Bernoulli, Aphrodite, p. 300, No. 2. Feet and left hand restored.
The attitude seems to suggest that this is a copy from a Praxitelean original ; the Pseliumene
(Pliny, H.N. xxxiv. 69) has been proposed by Klein, though it is not as yet certain whether
Praxiteles was the creator of that type.
1085. Aphrodite wringing or knotting up her hair.* Stands on 1. leg, holding up
in 1. hand the handle of a mirror (which is broken off) ; she wears a spJiendonc,
and her hair is knotted at the nape of the neck, with curls falling on each
shoulder, one of which she takes in r. hand as if to knot it up.
Ht. 8 in. ; with ancient base (which does not appear to belong), 9-J in. From Alexandria.
Bequeathed by Sir W. Temple, 1856. Klein, Praxiteles, p. 286, fig. 47 ; Bernoulli, Aphrodite,
p. 304, No. 9. The figure has been gilt.
1086. Aphrodite knotting up her hair. She kneels to 1., looking up to r., her 1.
elbow resting on some object ; she holds a mass of hair in each hand, which
* Klein [op. at.) refers this statuette to the Pseliumene type, along with No. 1084, but the r. hand
undoubtedly holds a lock of hair, not an ornament, and therefore the attribution cannot be maintained.
O
194 CATALOGUE OF BRONZES.
she is about to knot up in a bow on her head. The base is in the form of a
Corinthian capital.
Ht. 1} in. Athribis (Ben-ha), 1888. Presented by the Egypt Exploration Fund. Has
formed the top of a pin or other object.
1087. Aphrodite wringing her hair. She looks slightly down to r. ; she wears a
sphendo7i$, and her hair is divided into two masses, one of which she holds in
each hand, as if to wring it dry, or perhaps to knot it up.
Ht. 3I in. Hollis Coll. Right foot lost.
1088. Aphrodite as last. She wears drapery fastened round her hips, and holds
her hair as the last figure.
Ht. 3! in. ; with the base, which is ancient, si in> From Anzi. Bequeathed by Sir W.
Temple, 1856. Much corroded ; face greatly injured. Good patina at back.
1089. Aphrodite as before. She stands on 1. leg, wearing a sphendont, bracelets,
and a himation knotted round the hips ; on her breast hangs a mussel-shell,
suspended from a crossed band ; she holds a mass of hair in each hand, as
before.
Ht. 3§ in. ; with the base, which is ancient, \\ in. Payne Knight Coll. (xc. 1).
1090. Aphrodite wringing or knotting up her hair. Stands on r. leg, holding out
r. hand ; she wears a sphendont, and her hair is knotted at the nape of the neck,
except a thick tress which she holds in 1. hand as if about to knot it up.
Ht. 2| in. Bernoulli, Aphrodite, p. 304, No. 1 1.
1091. Aphrodite as last. Stands on r. leg, holding out r. hand with open palm ;
she wears a sphendone, round which her hair is rolled and knotted at the neck,
with tresses falling over the shoulders, one of which she holds in 1. hand as if
about to knot it up.
Ht. 3| in. Hamilton Coll. 81. Bernoulli, Aphrodite, p. 304, No. 10. Feet lost ; right
hand injured.
1092. Aphrodite as before. Stands on 1. leg with body slightly bent, holding a
mass of hair in each hand as if wringing it out.
Ht. if in. Payne Knight Coll. (xc. 2). Vaux, Handbook to Brit, ilfus. p. 427 ; Reinach,
Repertoire, ii. p. 341, No. 5 ; Bernoulli, Aphrodite, p. 289, No. 17. Ancient base.
1093. Aphrodite as before. Stands on r. leg ; her hair hangs in loose tresses, and
she holds a thick mass in each hand as if to knot it up.
Ht. 4| in. Sloane Coll. 410. Right foot lost.
1094. Aphrodite, as before. Stands on 1. leg, with r. leg slightly bent ; she wears
a sphendone* with incised patterns, and her hair is knotted at the nape of the
neck, except two thick tresses, one of which she holds in each hand.
lit. 7 g in. Athribis (Ben-ha), Egypt, 1873. Bernoulli, Aphrodite, p. 289, No. 18. Corroded.
STATUETTES OF APHRODITE. 1 95
1095. Aphrodite, as before. Stands on I. leg, looking to her r. ; she wears an
ampyx, and her hair is divided into two thick masses, one of which she holds up
in each hand.
Ht. 4| in. Strangford Coll., 1864. Left foot broken off.
1096!- Aphrodite, as before ; she stands on 1. leg, and her hair is divided into two
thick masses, one of which she holds up in either hand ; at her 1. side is a small
figure of Eros crouching, looking up at her.
Ht. 1 « in. From Egypt. Presented by W. M. Flinders Petrie, Esq., 189 1. Has foimed
the head of a pin. Rude work.
10962. Aphrodite, as before, perhaps from the head of a pin.
Ht. 1 in. Naucratis, 188S. Presented by the Egypt Exploration Fund. Feet lost.
Corroded.
d. Cnidl\n Type (Venus Pudica).
1097. Aphrodite (a variety of the Cnidian type). She holds 1. hand before pubes,
and holds a tress of her hair in r. hand, as if to knot it up ; the rest of the hair
is gathered in a bow on the top and a knot at the nape of the neck. The eyes
have been inlaid ; the face and hair are minutely finished.
Ht. 5| in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Bernoulli,
Aphrodite, p. 219, No. 28. Corroded; bright green patina. Ancient base, which does not
belong (ht. if in.).
1098. Aphrodite- (Cnidian type). She stands on r. leg, holding out r. hand, 1.
hand before pubes ; she wears a stephant! incised with palmettes, and her hair is
knotted at the nape of the neck, with tresses over the shoulders.
Ht. 6| in. Hamilton Coll. 141. Bernoulli, Aphrodite, p. 21S, No. 14 or 15.
1099. Aphrodite (a variety of the Cnidian type). She stands on 1. leg, looking
to her r. ; she wears armlets and bracelets, and has drapery over lower limbs
and 1. arm, which she holds up in 1. hand ; in her r. she has held a flower. Her
hair is rolled over a spliendonk and gathered in a knot at the nape of the neck.
Ht. 5! in. Found on the coast of Asia Minor, opposite Chios, 1887.
1100. Aphrodite (variety of Cnidian type). She stands on 1. leg, with r. hand
before her breast, holding up with 1. hand her drapery, which is knotted round
the hips. She wears a radiated spJiendoid, and her hair is rolled up all round
and tied at the neck, falling in tresses below. The eyes have been inlaid.
Ht. 6} in. Payne Knight Coll. (xc. 9). Gori, Mus. Etr. i. 94 ; Reinach, Repertoire, ii.
p. 358, No. 1 ; Bernoulli, Aphrodite, p. 261, No. 18.
1101. Aphrodite (Venus Pudica). Stands on r. leg, with r. hand before breast
holding an apple between thumb and forefinger, and 1. hand held at a little
distance before pubes ; she wears a stepliane with seven points, and her hair is
O 2
I96 CATALOGUE OF BRONZES.
arranged over the forehead in two rows of stiff curls (fashion of Flavian epoch),
with a large knot at the back.
Ht. 8i in. ; with ancient base (cylindrical, on square plinth), io| in. 1862. Bernoulli,
Aphrodite, p. 238, No. 87.
1102. Aphrodite (Venus Pudica). Stands on r. leg, with r. hand before breast
and 1. on pubes, wearing a sphendonb, which is pierced with holes for jewels ; hair
knotted at nape of neck, with tresses on shoulders.
Ht. 6f in. Towneley Coll. Bernoulli, Aphrodite, p. 238, No. 86. Ancient base. Right
leg injured.
1103. Aphrodite (Venus Pudica). As the last, with hair tied in a bow on the
top of the head.
Ht. 6^ in. Hamilton Coll. Bernoulli, Aphrodite, p. 238, No. 85. Right leg restored.
1104. Aphrodite. She stands in the attitude of the Venus Pudica, on r. foot ;
her hair is waved and gathered in a knot behind, and she wears a high spheudonZ ;
her r. hand is extended, the 1. placed over the pubes.
Ht. 1 1 in. Feet lost.
1105. Aphrodite (Cnidian type). She stands holding out r. hand with open palm,
1. hand before pubes ; she wears a bracelet on 1. wrist and round the neck a tore
with pearl pendant ; her hair is gathered in a bow on the top of the head and
a knot at the nape of the neck. The figure is coated with silver.
Ht. 5 in. ; with ancient base, 6g in. Hertz Col!., 1859 (Cat. 154). Bernoulli, Aphrodite,
p. 218, No. 16. Much corroded.
1106. Aphrodite. She stands on 1. leg, with r. hand on breast and I. over pubes ;
she wears a spJiendoiit, and her hair is gathered in a bow on the top and a knot
at the nape of the neck, with tresses over the shoulders.
Ht. 3! in. Found at the foot of Mt. Vesuvius. Hamilton Coll. Bernoulli, Aphrodite,
p. 238, No. 88.
37. Aphrodite. She stands on 1. leg, with r. hand on breast and 1. over pubes ;
hair waved over a sphendone and gathered in a knot at the nape of the neck.
Ht. 3f in. Bernoulli, Aphrodite, p. 238, No. 89. Broken off at the knees.
e. Miscellaneous Types.
1108. Aphrodite. The attitude is that of the Venus accroupie ; she kneels on r.
knee, with 1. knee raised and r. hand on breast, 1. hand resting on her lap ; she
looks round to her r.
Ht. if in. Bernoulli, Aphrodite, p. 316, No. 12, Very much worn ; left foot and right leg
from knee lost.
STATUETTES OF APHRODITE. 197
1109. Aphrodite-. She stands on 1. leg, holding in r. hand a pine-cone, in 1. an
apple ; round her loins is fastened drapery, and her hair is gathered in a knot
behind.
Ht. if in. Very much worn.
1110. Aphrodite /ceaTocfiopos (putting on the cestus). She stands on r. leg, holding
one end of the cestus out in r. hand ; it passes behind her back, and she has held
the other end in her 1. hand on her breast ; her hair is fastened in a bow on the
top of the head.
Ht. 3f in. Bernoulli, Aphrodite, p. 345, No. 5 ; Po'tier and Reinach, Ndcropole de Myrina,
p. 297, No. 6 ; cf. Clarac, Musce de Sculpt, iv. 626, 1407. Very slender proportions ; coarse and
much worn ; cestus broken in two places.
1111. Aphroditd. She stands on r. leg, holding out r. hand palm upwards, in 1.
an apple ; her hair is rolled over a spliendone with incised patterns, and gathered
in a knot at the nape of the neck, with tresses falling on the shoulders. At her
r. side is a dolphin, which, together with the base and both feet, is modern.
Ht. 6 in. Towneley Coll. Bernoulli, Aphrodite, p. 359. Both legs repaired.
1112. Aphrodite-. She stands on 1. leg, holding up a mirror in r. hand, into
which she is looking ; her hair is gathered in a knot at the nape of the neck,
and in 1. hand she holds an apple.
Ht. 3I in.
1113. Aphrodite. She stands on 1. leg, holding up 1. hand ; her hair is rolled up
over a sphendone and gathered in a knot at the nape of the neck ; in r. hand
she holds out a circular mirror with cover, which is broken.
Ht. 4| in. Feet much corroded ; left hand lost, and fingers of right hand broken.
1114. Aphrodite. Her hair is rolled up either side and gathered in a knot at the
back of the neck ; she wears a sphendone and himation round lower limbs ; her
r. hand is extended, and in 1. she holds drapery in front of her body.
Ht. 4 in. Hamilton Coll. 72. Bernoulli, Aphrodite, p. 263, No. 33.
1115. Aphrodite. She stands with both knees bent as if moving forwards ; her
hair is knotted at the back of the neck and falls in tresses on the shoulders, and
she wears a sphendone', and drapery twisted round 1. arm and floating behind ;
in r. hand she holds out a scallop-shell.
Ht. 3| in. Presented by Gen. Meyrick, 1878. Left foot lost.
1116. Aphrodite. She has long tresses ; her 1. hand hangs by her side, and in
r. she holds a mussel-shell (broken).
Ht. i-} in. Sloane Coll. 475. Ancient base.
I98 CATALOGUE OF BRONZES.
1117. Aphrodite. Stands on 1. leg ; hair gathered in a knot at the nape of the
neck and falling in tresses over the shoulders.
Ht. 3| in. From Santa Maria di Capua. Bequeathed by Sir W. Temple, 1856. Feet
and fore-arms lost.
1118. Aphrodite. Stands with both feet together ; she has long tresses ; her 1.
arm is pressed down by her side, and in r. hand she has held up some object,
perhaps a mirror, now broken off.
Ht. i| in. Sloane Coll. 475. Bernoulli, Aphrodite, p. 360. Ancient base.
1119. Aphrodite. Stands on r. leg, looking down to her r., holding out an apple
in r. hand ; her 1. hand is held up, palm downwards, and has probably rested on
a column ; her hair is gathered in a bow on the top of the head and a knot at
the nape of the neck.
Ht. 6ls in (with ancient base). Towneley Coll. Bernoulli, Aphrodite, p. 365. Good
patina.
1120. Aphrodite riding on the swan. She is seated sideways on the swan's r.
side, with r. hand on her knee and 1. hand on the swan's neck ; she wears long
chiton and himation.
Ht. 1 1 in. Towneley Coll. Bernoulli, Aphrodite, p. 407, No. 7.
1121. Aphrodite Pandemos riding on the ram. She reclines on the ram on
her 1. side, with 1. arm resting on his head, and legs crossed, extended beyond its
tail ; she looks to the front, and holds the edge of her drapery in each hand.
Her hair is rolled up all round, and she wears a bracelet on r. wrist, shoes, and
a himation over 1. shoulder, leaving the front of her body bare. The ram has
r. fore-leg doubled up and r. hind-leg extended behind.
Ht. 2| in. Length z\ in. From Chiusi. Castellani, 1865. Getting, gel. Anzcig. 1874,
p. 323 ; see Flasch, Angebl. Argonantenbilder, p. 1 ff.} Bernoulli, Aphrodite, p. 411, and Preller,
Gr. Mythol.* p. 381, note 1. Ancient base. Flasch gives reasons for identifying this figure
with Aphrodite Pandemos rather than Helle.
1122. Head of Aphrodite. Hair parted and waved, gathered in a bow and in a
knot at nape of neck. There appear to have been wings on the shoulders, in
which case the head would represent Victory.
Ht. 2 1 in. Castellani, 1873. Bold coarse style.
1123. Head of Aphrodite. Hair rolled up all round and gathered in a large
knot at the nape of the neck.
Ht. i^j in. Rather coarse style.
1124. Bust of Aphrodite. She wears a spJwudouc, and her hair is gathered in a
knot at the nape of the neck.
lit. 1^ in.
STATUETTES OF EROS. 1 99
G. TYPES OF EROS, etc. (1125-1194).
a. Standing Types, with Attributes.
1125. Eros. Stands on 1. leg, with 1. fist clenched, and with r. hand draws an
arrow from a quiver slung behind his back by a belt over r. shoulder ; his hair
falls in curls, with a top-knot, and a plait along the top of the head.
Ht. 3J in. Rather coarse style.
1126. Eros, from a relief in low repouss6. He stands to the front, looking to 1.,
with 1. hand on hip, in r. a wand (?) ; wings spread. On either side is a pattern
of palmettes and volutes.
2 J x if in. Rhodes Sale, 1846 ; formerly in Elgin Coll.
1127. Eros with alabastron. Stands on r. leg, looking to his 1., holding a shell
in 1. hand, and an alabastron in r. above his head ; his hair falls in curls.
Ht. if in. Hamilton Coll. 180. Feet broken.
1128. Eros with alabastron. Stands on r. leg, with 1. foot slightly advanced,
holding out a shell in 1. hand, in r. an alabastron ; hair tied in a top-knot and
falling in curls all round.
Ht. 2f in. Castellani, 1873. Corroded.
1129. Eros with alabastron. Stands on r. leg, with 1. advanced, looking upwards ;
in r. hand is an alabastron, in 1. a shell ; hair in a top- knot with curls all round,
and a plait on the top of the head.
Ht. 2J in. ; with base, 2>i in- Hamilton Coll. (?).
1130. Eros with festoon. Stands on r. leg, with 1. leg drawn back, holding up a
festoon in both hands ; hair in a top-knot, with curls ail round and a plait along
the top.
Ht. 2 1 in. Left foot broken off.
1131. Eros with alabastron. Moves forward with 1. leg advanced, holding in r.
hand an alabastron or handle of mirror, in 1. a vase ; infantile face.
Ht. i£ in. Blacas Coll., 1867.
1132. Eros with box. Stands on r. leg, with 1. foot raised to height of r. knee,
holding out some object in r. hand ; in 1. he holds a box with open lid and six
covered compartments inside ; along his head is a plait reaching down to the
neck, the hair each side being waved.
Ht. 2~ in. From Corfu. Woodhouse Coll., 1868. Feet lost. Coarse workmanship.
200 CATALOGUE OF BRONZES.
1133. Eros. Stands on r. leg, looking to his 1., holding a torch or pedum in r.
hand, which rests on r. shoulder ; his hair hangs in curls, with top-knot and a
plait along the top of the head. On each side of the crown a hole is bored
horizontally, as if for the attachment of a ring for suspension (cf. No. 1 179).
Ht. 4! in. Rhodes (?), 1874; acquired from Mr. Biliotti. Right wing, left leg, and left
arm lost, and a large piece broken out of the back.
1134. Eros. Stands on r. leg, looking down, holding up in r. hand a cylindrical
object carved at one end ; the other end, which is broken off, has probably been
held in 1. hand ; hair twisted back from the forehead, and falling down the nape
of the neck in a mass cut off square ; large phallos.
Ht. 3| in. Payne Knight Coll. (xxiii. 1). Soft green patina ; feet and base modern.
1135. Eros with bow and quiver. Stands on r. leg, with r. hand resting on his
quiver, which is suspended by a belt over 1. shoulder ; in 1. hand his bow ; hair in
a top-knot. A mantle hangs at the back of his legs.
Ht. 1 \ in. From Corfu. Woodhouse Coll., 1868. Much worn.
1136. Eros with cup (?). Runs with r. foot advanced, r. hand resting against
r. side, holding out a cup or flower in 1. hand ; hair in curls, with a top-knot.
The eyes have been inlaid.
Ht. 2 § in. Payne Knight Coll. (xxiii. 19).
1137. Eros with tablet, forming part of a lamp. He stands on r. leg, holding out
Pan's pipes in 1. hand ; hair tied in a top-knot.
Ht. 3f in. Right arm and feet lost ; holes through the legs. The head is surmounted by
a swan's head and neck.
1138. Eros with fruit. He stands on 1. leg with r. foot advanced, and r. hand
extended, holding a fruit with 1. hand against his breast ; his hair is curly, with
a plait along the top of the head, and he wears a fawn-skin fastened on r.
shoulder, and endromides.
Ht. 3! in. Payne Knight Coll. (xxiii. 12). Wings broken away.
1139. Eros with vase (?). He stands on r. leg, moving forward, with 1. foot
advanced, holding out r. hand with open palm, 1. hand holding some object (now
lost) above his head ; he has curly hair with a plait along the top of the
head ; on the r. wing is a ribbed vase on a stand, probably a modern addition.
Ht. 4\ in. Payne Knight Coll. (xxiii. 10). Coarse style ; left hand and right wing broken.
1140. Eros. He stands on r. leg, looking up to his 1., with both hands raised, the
r. arm bent and advanced from the elbow, the hand nearly open and the fingers
slightly bent ; the 1. arm is bent towards the head ; the attitude is one of surprise
and attention. The hair is curly and is tied in a top-knot in front ; the features
are infantile.
lit. 2| in. Payne Knight Coll. (xxiii. 3).
STATUETTES OF EROS. 201
1141. Eros. He stands on r. leg, the 1. foot resting on the toes ; his r. hand is
raised to his head, which is thrown back to his 1., and 1. arm extended ; the hair
in thick curls, tied in a top-knot in front, with a plait along the top of the head.
Ht. 3j in. Towneley Coll. Wings broken off.
1142. Eros (?). He stands on r. leg, the 1. foot raised to the level of the knee, r.
hand raised, and 1. arm drawn back ; he has thick curly hair tied in a top-knot
in front ; no wings.
Ht. 3^ in. Towneley Coll. Coarse work ; surface much injured and worn.
1143. Eros. Stands on a rock with 1. foot advanced, 1. hand on breast, and r.
hand held up as if speaking ; he wears a wreath, and his hair is plaited along
the top of the head.
Ht. 3 in. Presented by Gen. Meyrick, 1878. Coarse style.
b. Dancing or Running Types.
1144. Eros. He is dancing, with 1. leg lifted off the ground, and r. hand held
up ; he has scanty hair and infantile features.
Ht. 2| in. Hamilton Coll.
1145. Eros dancing. He moves forward with body resting on the toes of the 1.
foot, r. leg uplifted and hands outstretched ; very small wings and infantile
features.
Ht. l\ in. Athens, 1883.
1146. Eros, in very high relief. He looks up to r., with hands raised, and r. leg
advanced ; hair in curls, tied in a top-knot in front.
Ht. 3{ in.
1147. Eros springing forward. He rests on r. leg, the great toe of the other foot
just touching the ground ; 1. arm extended, the fingers bent to grasp some
object ; r. hand extended obliquely from the body, with palm downwards, held
above the level of the hip ; hair tied in a top-knot in front, with a plait along
the top of the head and a row of stiff thick curls falling on the neck.
Ht. 3 in. Hamilton Coll. 24.
1148. Eros springing forward. The body rests on the toes of the 1. foot, with head
thrown back ; the r. arm is raised and the 1. hand held palm downwards ; hair
falling in curls, tied in a top-knot in front, with a plait along the top of the head.
Ht. z\ in. Smyrna, 1873. Coarse style ; green patina. Feet and right hand broken off.
1149. Eros springing forward. R. foot raised off the ground ; over 1. arm and
round body is a himation, held up in 1. hand ; in r. hand he has held some object ;
hair in curls, tied in a top-knot in front.
Ht. \\ in. Payne Knight Coll. (xxiii. 8). Vaux, Handbook (0 Brit. Mits. p. 429.
202 CATALOGUE OF BRONZES.
1150. Eros springing forward on r. leg, with 1. leg drawn back, and hands raised ;
round his waist a garment or girdle is twisted, forming a knot on each hip
resembling a dagger ; hair in curls, tied in a top-knot in front.
Ht. 2f in. Payne Knight Coll. (xxiii. 4). Right hand broken.
1151. Eros springing forward. He looks up to his 1. ; his r. knee is bent and 1.
arm outstretched ; hair curly, tied in a top-knot in front.
Ht. 3| in. Castellani, 1873. Very much corroded; right foot, left leg from knee, and
hands lost.
1152. Eros springing forward. He stands on r. leg with 1. foot drawn back ; 1.
hand advanced, grasping some object, perhaps his bow, of which only a fragment
remains ; r. hand open with palm downwards and fingers closed ; double top-
knot over the forehead, plait along the top of the head, and curls all round.
The eyes have been inlaid.
Ht. 5| in. Payne Knight Coll. (xxiii. 7). Gori, Mus. Etr. pi. 44 (inaccurate). Wings
broken off.
1153. Eros springing forward. His 1. leg is kicked up behind, and head thrown
back, as if dancing ; his r. arm hangs by his side ; his hair falls in curls, with a
top-knot in front and a plait along the top of the head.
Ht. 2I in. Hamilton Coll. 116. Left wing and left arm broken off; right leg repaired.
1154. Eros running. His 1. leg is drawn up, and head upturned to his r., with an
expression of agony (?) ; r. arm has been extended.
Ht. 2 j in. Presented by Gen. Meyrick, 1878. Wings and fore-arms broken away.
1155. Eros riding (?). He has been seated sideways on some object ; he looks
up to 1. with both hands uplifted to 1. The eyes have been inlaid.
Ht. 9! in. From Brescia. Castellani, 1873. Green patina ; body slightly corroded.
c Seated and Miscellaneous Types.
1156. Eros seated, with legs far apart, as if riding on some animal. He looks
down, with r. arm extended to 1., and 1. hand touching 1. leg below knee.
Ht. i\ in. Very coarse ; much worn. Right arm, both feet, and left wing broken.
1157. Eros (?) as last. Has been seated astride on some object, turning tor., with
1. hand extended and r. hand palm downwards, as if resting on some support ;
he has curly hair, and a chlamys passes over 1. shoulder and round r. thigh. He
has no wings.
Ht. 2 \ in. Towneley Coll.
1158. Eros riding on a dolphin. He is seated on its neck, with hands placed on
his knees, and has curly hair, tied in a top-knot in front.
Ht. if in. Part of the do'phin broken away.
STATUETTES OF EROS. 203
1159. Eros seated on a large thick ring, which has formed part of some piece of
furniture. His r. leg is doubled up, with heel touching 1. knee ; in r. hand he
holds out a large ball or fruit, in 1. a doubled-up object (a garland or purse?) ;
his hair is tied in a bow on the top of the head, with curls falling down the neck.
Ht. (with the ring), 4§ in. Payne Knight Coll. (xxiii. 1 1). Left wing broken off.
1160. Eros, forming the termination of a bracket. He is nude, and his hands are
extended (having probably held attributes) ; his body ends off in a mass of
foliage, and tendrils which form the bracket ; it turns on a pivot, which is
modern.
Length 18 in. Payne Knight Coll. Sent from Rome. Spec. Ant. Sculpt, i. pi. 50 ;
Reinach, Repertoire, ii. p. 457, No. 4. The eyes and inside feathers of the wings are in silver.
1161. Eros, the body as far as the pubes set in a floral calyx which issues from a
lion's foot and leg; in r. hand he appears to hold the remains of a butterfly;
hair in curls and tied in a top-knot in front.
Ht. 3! in. Payne Knight Coll. (xxiii 5). Left arm and part of left wing wanting. The
figure has been applied as an ornament.
1162. Eros playing with goose. He squats on the ground, with legs doubled up ;
in r. hand, which is drawn back, he holds up some object ; he wears a bulla
suspended from a tore, bracelets, and armlet on r. arm, and has curly hair. His
1. arm is placed round the body of the goose, which raises its beak to his 1. cheek.
Ht. if in. Towneley Coll. Journ. Hell. Stud. vi. (1885), p. 9. Ancient base (?).
Similar types in Clarac, Muse'e de Sculpt, v. pis. 874-878 ; a full list is given by E. Gardner in
Journ. Hell. Stud. loc. cit.
1163. Eros (?) struggling with swan. He is moving to his r., and pulling at the
swan, holding its neck with both hands, while it struggles to free itself. Eros
has hair in curls, with a top-knot in front and a plait along the top of the head ;
he has no wings.
Ht. 2f in. Payne Knight Coll. (xxiii. 6). Journ. Hell. Stud. vi. (1885), p. 7. The swan
' has lost one leg.
1164. Eros struggling with eagle. He stands to 1., turning to the front, with both
arms round the eagle's neck ; it struggles to free itself.
Ht. \\ in. Journ. Hell. Stud. vi. (1885), p. 7. Coarse ; Eros' left wing injured. Stands
on ancient fiat base.
1165. Eros, on a shield-shaped plate in relief. He moves to r., carrying on 1.
shoulder a sceptre tipped with silver and a bearded mask with hair brushed up
over the forehead. He wears a chlamys over his arms ; his 1. foot is raised, and
with r. hand he supports the mask behind his head ; his wings are tipped with
silver.
Ht. \\ in. Payne Knight Coll. Schreiber, Alexandr. Toreutik, p. 373, fig. no.
Probably attached to the handle of a vase.
204 CATALOGUE OF BRONZES.
1166. Eros reclining. He leans on 1. elbow, looking down to his 1., with r. toot
crossed over 1., and r. hand resting on r. knee, the palm open ; his hair falls in
curls, and is tied in a top-knot in front.
Length 3 in. Ht. i| in. Payne Knight Coll. (xxiii. 13). Right wing broken.
1167. Eros seated on a column. He sits with 1. leg doubled up and r. hand
stretched out, holding up an apple in 1. hand, and looks to his r. ; he has a
laughing expression and curly hair. The column is square, with Corinthian
capital and moulded base.
Ht. 5 in. Antioch, 1873.
1168. Eros seated on a capital. He sits with legs doubled up and face turned
slightly to r. ; r. hand raised to face and 1. hand placed on 1. knee. The capital
is ornamented with leaves.
Ht. if in. Payne Knight Coll. (xxiii. 18). Vaux, Handbook to Brit. A/us. p. 429.
1169. Eros seated. The r. leg is bent inwards; his hair is brushed forward,
and in 1. hand he holds a club ; in r. he holds up a bunch of grapes at which
he is looking. This figure has been fixed to a seat.
Ht. 3 in. Corinth, 1865. Left wing injured.
1170. Eros seated. His 1. leg is doubled up, and both hands are extended ; his
hair falls in curls and is tied in a top-knot in front.
Ht. 2 in. Sloane Coll. 481. Left wing lost.
1171. Eros seated. His legs are wide apart, and his r. hand is extended, pointing
with forefinger at some object, to which he turns his head ; his hair is tied in a
top-knot in front, and his 1. fist is clenched.
Ht. 4f in. Sloane Coll. 382. Right leg from knee and wings lost.
1172. Eros seated. He looks to his 1., and his hands are tied behind his back ;
his hair falls in curls, and is twisted into a knot at the back of the head.
Ht. 2J in. Towneley Co'l. Feet lost ; wings broken. Patina.
1173. Mask of Eros (?). The mouth is closed ; on either side of the face are
curls, and along the top of the head a thick plait.
Ht. 1 in. From Corfu. Woodhouse Coll., 1868.
1174. Head of Eros. Infantile features ; hair falling in straight curls all round,
with top-knot in front and a broad plait along the top of the head.
Ht. 2-3 in. Towneley Coll.
1175. Mask of Eros. His hair is tied in a top-knot in front and waved each side ;
above the temples are wings.
Ht. 2J in. Payne Knight Coll.
TYPES DERIVED FROM EROS. 205
1176. Psyche. She looks up to 1., holding her 1. hand up to 1. ; in r. hand she
holds a torch downwards. Her hair is tied in a top-knot, with a plait along the
top of the head, and falls in curls all round, like Eros ; she wears a long chiton
and a himation twisted round her waist, and has butterfly's wings.
Ht. 3f in. Ekhmim, Egypt, 1890.
v
Types derived from Eros (1177-1194).
a. Standing Figures.
1177. Boy standing with r. leg advanced and 1. foot drawn back, looking down
with an expression of annoyance ; his 1. hand is placed on the back of his head
and his r. hand behind the head ; the eyes have been inlaid (?).
Ht. 2>l in. Payne Knight Coll. (1. i). Good patina.
1178. Boy standing on r. leg, with 1. leg advanced and head leaning over r.
shoulder ; he has a pained expression and his arms have been advanced to 1., as
if repelling some one ; his hair falls in curls, with a top-knot in front and a plait
along the top of the head.
Ht. 3 in. Payne Knight Coll. Right arm and foot lost.
1179. Boy as Eros, used as a weight, as is shown by the hook fixed in the head.
He stands on 1. leg, looking to his 1., with r. hand by his side ; over his r.
shoulder is a himation in which his 1. arm is muffled.
Ht. 2\ in. Feet lost ; very much worn.
1180. Boy as Eros, with serpent. He stands with 1. foot advanced, looking up to
his r. at a serpent which he holds behind his head, its head in his 1. hand and
tail in his r. ; his hair falls in curls, with top-knot in front and a plait along the
top of the head.
Ht. 3 in. Comarmond Coll., 185 1. Head and tail of serpent broken off.
1181. Boy. He stands on r. leg, looking down to his 1., with hands raised.
Ht. 2| in. Payne Knight Coll. Right arm and left hand broken off.
1182. Boy as Eros. He stands on 1. leg, looking to his r. ; he holds up an arrow
in his r. hand ; in his 1. is a bow, and a quiver is slung over 1. shoulder.
Ht. 2f in. Towneley Coll. Patina.
1183. Boy as Eros. He stands on r. leg, with 1. drawn back and raised in the
air ; r. hand raised and 1. drawn back ; his hair falls in curls, and is tied in a
top-knot in front.
1184. Boy with attributes of Athene. He stands on r. leg, holding out a spear in
r. hand ; he has thick wavy hair, helmet with high crest, incised with volutes
and other patterns, and aegis.
Ht. 3i in. Right foot and left hand, and left leg from the knee lost.
206 CATALOGUE OF BRONZES.
b. Running Figures.
1185. Boy as Eros running. He springs forward, resting on r. foot, the I. raised
from the ground, with both arms extended ; he has long hair, and wears a
petasos, and shoulder-belt over 1. shoulder ; above the temples are wings (?), and
in r. hand a purse (?). Attached to each shoulder-blade has been a ring, the one
on the r. broken.
Ht. if in. Payne Knight Coll. (xxiii. 20). Left hand lost. The wings above the temples
suggest that this is intended for Hypnos (see Winnefeld, Hypnos, p. 8;.
1186. Boy as before, running. He advances resting on r. leg, with r. arm raised ;
his hair falls in curls, and he wears a chlamys twisted over both arms and
passing behind his back.
Ht. 3|- in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Right hand,
right foot, and left leg lost.
1187. Boy as Eros, running. He springs forward on r. leg, with 1. foot raised
high and drawn far back ; r. arm bent, with fingers turned inwards ; he has curly
hair and wears a chlamys over the shoulders, fastened together in front by a
.quatrefoil clasp, and blown back by the rapidity of his movement.
Ht. 7§ in. Payne Knight Coll. Left arm lost ; head modern. Patina.
c Seated Figures.
1188. Boy as Eros. He is seated on the ground, with legs doubled up, holding
up both hands to his mouth as if biting something.
Ht. if in. ; with base, i\ in. Payne Knight Coll. Coarse style.
1189. Child seated astride some object. He looks to his 1., and in r. hand holds
up an object now broken off; he wears a wreath and short loose chiton.
Ht. i| in. Left hand broken off.
1190. Child squatting, with legs doubled up, looking to its r. ; r. hand placed on
1. foot, 1. hand holds a fruit on the ground ; the hair is tied in a top-knot in front.
Ht. 1 J in. Blacas Coll., 1867. Coarse style.
1191. Child squatting, looking to his r., wearing long chiton reaching to his feet,
which has slipped off 1. shoulder ; his r. hand is placed on his shoulder, and in 1.
he holds a flower.
Ht. I in. Payne Knight Coll.
1192. Child seated, with r. leg doubled up and 1. leg stretched out, r. hand raised
and 1. advanced towards r. foot ; hair in curls all round the head. The eyes
have been inlaid with gold.
Ht. 1 1 in. Castellani, 1873.
STATUETTES OE HERMES. 207
1193. Child squatting with legs doubled up and crossed, head turned to his r. ;
he holds his r. foot in r. hand, and is hairless.
Ht. ij in. Castellani, 1873. Left hand lost.
1194. Child seated, starting back in an attitude of surprise ; he looks to his 1.,
inclining his body in the same direction, with 1. leg outstretched ; his 1. hand is
raised to the mouth palm outwards, and his r. hand is placed on his hip.
Ht. if in. Payne Knight Coll. Patina.
H. HERMES (1195-1241).
(a) Standing Types.
1195. Hermes. He stands on r. leg, with 1. drawn back, and is nude and beard-
less ; he wears a large petasos, and has held some object, perhaps a purse,
between the forefinger and thumb of his r. hand ; his 1. hand is placed on his hip.
Ht. I9{- in. From Saponara in the Basilicata. Presented by R. Goff, Esq., 1849.
1196. Hermes. He stands on r. leg, looking to his 1. ; on his head are wings, and
in 1. hand he holds out a purse ; his r. hand holds some object, now broken.
Ht. 2J in. Very rude ; feet lost.
1197. Hermes. He stands with r. heel slightly raised, looking to his r. ; he has
curly hair and a chlamys twisted round 1. arm. In r. hand he holds a purse ;
the 1. has probably held the caduceus.
Ht. 5 in. Towneley Coll.
1198. Hermes. He looks to his r., and holds a purse (modem) in r. hand, and a
caduceus in 1. ; he wears a flat petasos and a chlamys twisted round 1. arm.
Ht. 4f in. Hamilton Coll. 169. Found near Mt. Vesuvius. Legs and right arm restored ;
in bad condition.
1199. Hermes. Stands on r. leg, looking to his r. ; he has a chlamys over 1. arm
fastened on r. shoulder, wings on his head, and caduceus in 1. hand.
Ht. 3} in. (including ancient base). Right fore-arm lost.
1200. Hermes. Stands on r. leg, looking to his r., holding in 1. hand a caduceus,
winged (?), the snakes and wings stippled, the staff knotted. He wears wings on
his head, with a lotos-flower between, a laurel-wreath, and a chlamys over
shoulders and round 1, arm.
Ht. 2§ in. Blacas Col1., 1867. Legs wanting below knees, and right fore-arm lost.
208 CATALOGUE OF BROxNZES.
1201. Hermes. Stands on r. leg, looking to his r. ; he holds out a purse in r.
hand, and in I. is a caduceus, the top broken off. He has curly hair, and wears a
winged petaso s and chlamys fastened on r. shoulder.
Ht. 2f in. From Santa Maria di Capua. Bequeathed by Sir W. Temple, 1856. Feet
broken off; very coarse.
1202. Hermes. Stands on r. leg, looking down to his r., holding a winged
caduceus in 1. hand ; his r. hand has held out a purse. He wears a fillet, winged
petasos with a lotos-flower (?) in front, and chlamys over shoulders.
Ht. 2 in. Payne Knight Coll. (lx. 24). Legs from knees and right fore-arm wanting.
1203. Hermes. Stands on r. leg, looking to his r., holding out a purse in r. hand,
in 1. a winged caduceus, the bodies of the snakes twisted round the staff, the
heads broken away. He wears winged petasos and chlamys wrapped round
1. arm.
Ht. 2|- in. Blacas Coll., 1867. Feet lost; poor style.
1204. Hermes. Stands on r. leg, looking to his r., and holding out a purse in r.
hand ; in 1. a winged caduceus, the bodies of the snakes twisted round the staff.
He wears a winged petasos with a lotos-flower (?) in front, and a chlamys over
shoulders and round 1. arm. At his 1. side is a cock (?).
Ht. 2\ in. Hamilton Coll. 58. Found near Mt. Vesuvius. Legs restored ; poor style.
1205. Hermes. Stands on r. leg, holding out a purse in r. hand, mouth outwards ;
the 1. has held a caduceus ; he has wings on his head and wears a chlamys
fastened with a brooch on 1. shoulder and wrapped round 1. arm.
Ht. 4| in. Hollis Coll. Rude style.
1206. Hermes. Stands on r. leg, holding out purse in r. hand ; his 1. has held the
caduceus. He wears winged petasos, chlamys fastened with a brooch on 1. shoulder,
and endromides with wing-like flaps. The eyes have been inlaid.
Ht. 5 \ in. Towneley Coll.
1207. Hermes. Stands on r. leg, the body thrown back, looking to his r. ; his r.
hand has been extended, and in 1. is a caduceus, of which the snakes' heads
are stippled, and the bodies twisted round the staff. He has curly hair, a
laurel-wreath with lotos-flower (?) in the middle, and wings on his head, and
wears a chlamys over 1. arm.
Ht. 2} in. Strangford Coll., 1864. Right foot and right fore-arm lost ; rude.
1208. Hermes. Stands on r. leg, with 1. foot drawn back, looking to his r., holding
out a purse in r. hand, in 1. a winged caduceus ; he wears a winged petasos and
chlamys over 1. arm ; at his r. side is a cock.
Ht. 2 } in. From Torre Annunziata. Bequeathed by Sir. W. Temple, 1856. Much
corroded.
STATUETTES OF HERMES. 2CX)
1209. Hermes. He stands on I. foot, the r. drawn back, looking to his 1. ; he
wears petasos, chlamys fastened with a brooch on 1. shoulder, and sandals.
Ht. 4l in. Payne Knight Coll. (lx. 2). Both arms cut away from above the elbows.
1210. Hermes. Stands on 1. leg, leaning slightly on r. side, and has held a
caduceus in 1. hand ; his hair is arranged in two rows of curls in front, and he
wears winged petasos and chlamys fastened with a rosette on r. shoulder, twisted
over 1. arm.
Ht. 4| in. Right arm broken off at elbow.
1211. Hermes. Stands on r. leg, looking to his 1., with r. hand on hip ; 1. hand is
raised and has held some object. He wears a winged petasos and chlamys
fastened with a brooch in front ; the wings are broken.
Ht. 3! in. Towneley Coll. Patina.
1212. Hermes. He stands on r. leg, the 1. slightly advanced, looking down to
his r. ; he wears a winged petasos (the wings broken), and holds out a patera in
r. hand ; the 1. has held some object now wanting.
Ht. 3! in. Castellani, 1873.
1213. Hermes. He stands with 1. foot drawn back, looking down to his r., his
body leaning over to the 1. ; he wears winged petasos with an ornament in front,
and chlamys over 1. arm, and holds out a purse in r. hand and a caduceus in 1.
Ht. 3x in. Hamilton Coll. 76.
1214. Hermes. He stands with r. leg advanced, looking round to his 1. ; he
wears petasos, and chlamys twisted round 1. arm, and may have held a caduceus
in 1. hand. On the back and thigh is an inscription inlaid in silver, in late
Greek characters, but unintelligible.
Ht. 4f in. Payne Knight Coll. (lx. 23). Right arm, left fore-arm, and legs from the
knees lost ; very coarse.
1215. Hermes. Stands on 1. leg, with face upturned to his 1., and 1. hand lifted
to forehead ; he wears a winged petasos, and holds in r. hand an object like the
sheath of a sword.
Ht 2| in.
1216. Hermes. He looks to his r., and holds a purse in r. hand and a caduceus
in 1. ; he wears a winged petasos, endromides, and large chlamys covering the
whole body.
Ht. 2\ in. Towneley Coll.
2IO CATALOGUE OF BRONZES.
1217. Type of Hermes, probably an athlete. He stands on r. leg, looking
down to his r., with r. arm by his side ; the 1. hand has held out a spear or
caduceus, and the r. may have held a purse. His hair falls in waves round the
face ; the eyes have been inlaid.
Ht. 5l in. Payne Knight Coll. (xlvi. 12). The attitude is not unlike that of the
Doryphoros of Polycleitos.
(b) Seated Types.
1218. Infant Hermes seated with r. leg extended and 1. leg drawn up, turning
slightly to his 1. ; he has a smiling expression, and wears a winged petasos. The
eyes have been inlaid, and the r. hand has rested on r. thigh ; the 1. appears to
have held some object.
Ht. 2| in. Castellani, 1873. Right hand broken, and right leg partly restored. In good
condition ; patina.
1219. Hermes seated on a rock, looking to his r. ; he has closely-curling hair, in
which are wings (one broken), and sandals with wings or flaps. His r. hand
holds a purse, and rests on his r. knee ; his 1. rests on a tortoise at his side.
Ht. 3! in. Towneley Coll. Patina ; rude Roman work.
1220. Hermes seated on a rock, looking to his r., with r. leg drawn up ; his r.
hand has held a caduceus, and rests on r. knee ; his 1. has rested on the rock.
He has a youthful face, and wears a chlamys wrapped round 1. arm, fastened
with a brooch on r. shoulder, and laced-up boots with wings attached.
Ht. 8^ in. In the top of the head is a nail ; the rock is modern.
1221. Hermes. He is seated, with r. foot drawn up, looking to his 1 ; he wears a
petasos. His r. hand rests on his knee and holds a purse ; his 1. has held out a
caduceus.
Ht. 3~ in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Rather
coarse style.
1222. Hermes seated on a rock, with face nearly to front ; he holds out 1. hand
with two fingers extended (the thumb lost). He has curly hair, and wears a
winged petasos, and chlamys fastened with a brooch on r. shoulder.
Ht. 5{ in. Hamilton Coll. 167. Found near Mt. Vesuvius. Legs below knees and right
arm with purse restored. In the petasos a ring for suspension.
1223. Hermes seated, with 1. foot extended and r. hand on knee ; he wears a
winged petasos and winged endromides.
Ht. i\ in. Very rude ; extremities slightly injured.
HERMES. 211
1224. Type of Hermes, reclining. A beardless figure reclining on 1. elbow, with
face turned upwards and drapery over lower limbs ; in r. hand he holds up a
purse, and in 1. is a caduceus.
Length, if in. Ht. -} in.
1225. Hermes seated. He wears a winged petasos and chlamys fastened on r.
shoulder and wrapped round 1. arm.
Ht. 2\ in. Hands and left foot lost ; very rude.
1226. Hermes on eagle's back. He wears winged petasos and chlamys, and lies
on the eagle's r. wing with 1. hand round its neck ; both its wings are spread.
Ht. 2\ in. Hamilton Coll. no.
1227. Shovel with figure of Hermes (?), or perhaps Phrixos. The handle ends
in a lion's and a sheep's head ; on the latter sits a beardless man in conical cap
and boots, with r. hand raised as if shading his forehead, 1. leg thrown over r.,
and 1. hand placed on the sheep's head.
Length 14J in. Payne Knight Coll. Perhaps Etruscan work.
1228. Bust of Hermes, used as a weight. He is beardless, and has gracefully-
curling hair, in which is an ivy-wreath tied with a ribbon, the ends of which fall
on the shoulders ; on his head is a winged petasos, and on the shoulders drapery.
The lips are parted ; the eyes have been inlaid.
Ht. 4 in. Payne Knight Coll. (lx. 19). Spec. Ant. Sculpt, ii. 57. On the top of the
head is a loop ; the petasos is punctured all over.
1229. Bust of Hermes, wearing flat petasos, ivy-wreath, and chlamys fastened
on the shoulders.
Ht. 4f in. Rather coarse and worn. Has been used as a weight ; ring in top of head
with modern chain.
1230. Hermes or Perseus, bust of, broken from a statuette. The mouth is
slightly open ; the eyes have been inlaid.
Ht. 3J in. From Central Italy. Castellani, 1884 {Sale Cat. 454). Wings broken off
side of head. Roman date.
1231. Bust of Hermes, issuing from the calyx of a flower ; on the head, wings.
Ht. 2| in. Hamilton Coll. 37.
1232. Terminal Figure of Hermes. The head is beardless, and the hair curly
in front ; it terminates at the base of the neck, and all below is modern.
Ht. 4l in. Payne Knight Coll.
1233. Head of Hermes. He has curly hair and a winged petasos ; in the ears
are holes, and the pupils of the eyes are incised. Probably copied from a good
Greek original.
Ht. 2x in. Payne Knight Coll. (lx. 8). In fine condition ; good patina ; broken from a
bust.
P 2
212 CATALOGUE OF BRONZES.
1234. Bust of Hermes. Hair in close curls ; chlamys over 1. shoulder ; over the
forehead two projections.
Ht. 1 1 in. Sloane Coll. iu6.
1235. Bust of Hermes, resting on the calyx of a flower. Winged petasos and
chlamys over 1. shoulder ; on the r. shoulder is a purse (?), stippled.
Ht. \\ in. Payne Knight Coll. (lx. 6). Poor style.
1236. Bust of Hermes. Winged petasos ; shoulders draped. The bust rests on
a globe, and may represent some member of the Roman Imperial family.
Ht. If in. Payne Knight Coll. (lx. 2o), Poor style and in bad condition.
1237. Bust of Hermes, forming a balance-weight, with chain attached ; draped,
with short curly hair, in which are wings.
Length \\ in.
1238. Bust of Hermes, as before ; no chain.
Ht. 1 1 in. Payne Knight Coll.
1239- Three Busts of Hermes, as before.
" Ht. of one, \\ in. ; of the others, i in.
I. HERACLES (1242-1325).
1242. Heracles, Asclepios, and a Centaur. The Centaur is between the other
two, and squats on his hind-legs with fore-legs advanced ; he has rough hair and
beard, and holds a cornucopia on 1. shoulder with both hands. On his r. is
Heracles, with 1. hand placed on the Centaur's r. fore-leg, r. leg advanced and 1.
drawn back, r. arm extended ; he is bearded, with lion's skin over 1. shoulder,
and looks round at the Centaur. On the 1. of the Centaur is Asclepios, with 1.
hand raised to his chin, holding out in r. hand some object now broken ; he
wears long chiton, himation, and sandals, and his 1. eibow rests on a staff round
which a snake is twisted. The type of his features is the same as the head in
the Elgin Room {Brit. Mus. Cat. of Sculpture, i. No. 550).
Ht. 9! in. Payne Knight Coll. (xix. 1). Spec. Ant. Sculpt. \. 75 ; Vaux, Handbook to
Brit. Mus. p. 410 ; Reinach, Repertoire, ii. p. 693, No. 4. Heracles' right hand and right leg
from knee are lost.
1243. Heracles, the infant, strangling the snakes. He squats on his r. knee, with
head bent down, looking to his 1. ; in either hand he holds the neck of a snake,
and each snake is twisted round one of his legs. He has an infantile chubby
face. This group is probably from the top of a cista or vase (cf. No. 747) ; the
composition is triangular.
Ht. 2>3 in. Length 7 in. Ephesus, 1897. For the subject compare Journ. Hell. Stud.
xvi. p. 146. Left hand injured ; one snake injured and corroded ; rather coarse work.
STATUETTES OF HERACLES. 2 I 3
1244. Heracles reclining. He reclines on his 1. side, resting on his I. elbow ;
below him is the lion's skin, spread on rocky ground. He is bearded, and looks
down to his r. ; in his 1. hand, which is restored, he holds a cup, and in the r.,
which rests on his r. thigh, a thick woollen fillet, such as occurs on r.-f. vases in
banquet scenes {e.g. E 49, 53, 54, in Brit. Mils.). His 1. foot is doubled under
the r. ; the attitude is similar to that of a relief at Brocklesby Park, which has
been identified as the work of Scopas Minor (v. itifr.).
Length 4- in. Ephesus, 1897. Corroded. A similar fillet is carried by Heracles in a
relief in Gerhard, Ant. Bildw. pi. 112, fig. 3, and worn round his neck, ibid. fig. 1. For the
type, see No. 13 13 and Rom. Mittheil. xii. (1897), p. 60 ; it is there referred by Loewy to the
Hercules Olivarius opus Scopae minoris of an inscription recently found in Rome (Notizie
degli Scavi, 1895, p. 458).
1245. Heracles. He stands on r. foot, the 1. drawn back, looking to his 1. ; in r.
hand he brandishes his club behind his head, in 1. he holds out an apple or
pomegranate. He is beardless, and his hair is arranged in elaborate curls over
the forehead ; he wears the lion's skin over his head and 1. arm, the paws tied in
front. The club and lion's skin are stippled, and the flowing mane is indicated
on the latter, the end of which is restored.
Ht. 12} in. Rather barbaric work.
1246. Heracles. Similar to the last ; hair in somewhat flatter curls over the
forehead ; no stippling on club or skin, and mane not indicated.
Ht. I2~ in. Right arm repaired.
1247. Heracles. He stands on r. leg, looking to his r., with 1. hand on hip ; in r.
hand he holds out a cornucopia full of fruits. He is beardless, with short curly
hair and fillet, and lion's skin hanging down over 1. shoulder ; a belt passes over
r. shoulder, with a quiver attached under 1. arm (part broken off) ; the handle of
his club remains in 1. hand.
Ht. ii^ in. Payne Knight Coll. (xlvi. 13). Left foot restored. Rudely executed, but
probably copied from some celebrated Greek original.
1248. Heracles. He stands on r. leg, holding in r. hand one of the horns of Plate
Acheloos, in 1. an apple from the garden of the Hesperides ; he is beardless, and XXIII.
wears the lion's skin over his head and 1. arm, the paws tied in front. Ancient
base with relief of a lion seated to 1., with one paw raised, thrice repeated.
Ht. I2| in. Castellani, 1873. The base appears to have belonged to a tripod. The
proportions of the figure are long.
1249. Heracles, from the handle of a vase. He stands on 1. leg, and looks down-
wards ; he is beardless, with smooth curls, club in r. hand resting on the ground,
and three apples from the garden of the Hesperides in 1. ; the type is that of a
youthful Greek athlete. The figure stands on a base, and forms the central part
of the handle, which ends below in an open-work palmetto, and above in a floral
ornament with double volutes.
Ht. of figure, 6\ in. ; of the whole, 9! in. Payne Knight Coll. Spec. Ant. Sculpt, i.
pi. 38 ; Reinach, Repertoire, ii. p. 214, No. 3.
214 CATALOGUE OF BRONZES.
1250. Heracles. He stands on r. leg, brandishing club in r. hand behind his
head ; in 1. he holds three apples as in last. He is beardless, and wears a fillet
with lotos-flower over the forehead, and lion's skin on 1. arm.
Ht. 7i in. Hamilton Coll. 177 E. Club and legs below knees restored.
1251. Heracles. Stands on r. leg, with 1. foot advanced ; he is beardless, and
wears the lion's skin on 1. arm ; in r. hand he brandishes his club behind his
head.
Ht. 4I in. Castellani, 1873. Fine green patina.
1252. Heracles. He stands as if advancing, with head turned to his 1., r. leg
advanced, and 1. drawn back ; his r. hand is held up as if brandishing his club
(now lost). He is beardless, and has carried the lion's skin on 1. arm.
Ht. 4| in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Left arm
and both feet lost.
1253. Heracles. He stands on r. leg, with r. hand on hip ; he is beardless, and
wears a fillet, and lion's skin hanging from 1. arm ; in 1. hand he has held a club.
Ht. 4 in. Blacas Coll., 1867. Ancient base.
1254. Heracles. He stands on 1. leg, looking to his r., the body inclined to r. ;
in 1. hand his club, r. hand on hip. He is beardless, and wears a fillet and lion's
skin over 1. arm.
Ht. 2>\ in. Presented by General Meyrick, 1878. Small ancient base.
1255. Heracles. He stands with 1. leg advanced, looking to his 1., the body-
inclined forward ; in 1. hand he holds a snake (?), which he is about to strike
with club brandished in r. hand behind his head. He is beardless, with close-
curling hair, and carries the lion's skin over his 1. arm ; the lower end of the
club is set in a sort of ferrule.
Ht. 7 in. Castellani, 1873. The head is well rendered.
1256. Heracles. He advances on r. leg, the 1. foot drawn back, looking to his
1. ; he is beardless, and holds out the lion's skin like a shield on 1. arm ; in r.
hand he has held a club.
Ht. 7| in. Castellani, 1873.
1257. Heracles. He stands on r. leg, with both feet flat on the ground, holding
up his club in r. hand ; he is beardless, and of very attenuated proportions ; he
carries the lion's skin in 1. hand and round 1. arm.
Ht. 81 in. Bequeathed by Miss Auldjo, 1859. Very rude and barbaric work ; probably
late Etruscan.
STATUETTES OF HERACLES. 215
1258. Heracles. He stands on r. leg, the 1. slightly advanced, holding his club in
r. hand resting on the ground, and in 1. three apples from the gardens of the
Hesperides ; he is beardless and wears the lion's skin over head and 1. arm, the
paws tied in front.
Ht. 4} in. Blacas Coll., 1867. Much corroded and worn.
1259. Heracles. He stands on r. leg, the 1. drawn back, looking to his r. ; in r.
hand he holds out an apple, in 1. is his club (broken). He is beardless, and
wears the lion's skin, as the last.
Ht. 3i in. Feet restored.
1260. Heracles. He stands on r. leg, holding his club in r. hand, and in 1. a
pomegranate ; he is beardless, and wears the lion's skin as before.
Ht. 3| in.
1261. Heracles. He stands on r. leg, the 1. slightly advanced ; his r. hand rests
on his club, and in I. is an apple from the gardens of the Hesperides. He is
beardless, and wears the lion's skin as before, the mane being indicated down
the back behind.
Ht. 4| in. From Corfu. Woodhouse Coll., 1868. Patina.
1262. Heracles. He is advancing on 1. foot, looking slightly to his 1. ; in r. hand
he holds up his club to strike the serpent held in his 1. ; the upper part of both
club and serpent broken off. He is beardless, and wears the lion's skin as
before, on which the mane is indicated.
Ht. 4| in. Very barbaric.
1263. Heracles. He is beardless, and looks to his r. ; r. hand on hip ; 1. has held
his club. He wears the lion's skin as usual, the hair on which is indicated all
over.
Ht. 6 in. Payne Knight Coll. (lxxxiv. 1). Right leg broken off above knee.
1264. Heracles. He stands with r. foot advanced and 1. drawn back, looking to
his 1. ; he brandishes his club in r. hand behind his head, with which he is about
to strike a serpent held in 1. hand. He is beardless, and wears the lion's skin as
usual.
Ht. 4J in. Castellani, 1873. Head of serpent broken off. Thick coarse work.
1265. Heracles. He steps forward with r. leg advanced and 1. drawn back ; his
r. hand raised above his head has held his club (now wanting) with which he is
about to strike at a serpent held in 1. hand (also wanting). He is beardless, and
wears the lion's skin in the usual fashion ; under 1. arm is a quiver (?).
Ht. 4i in. Payne Knight Coll. (lxxxiv. 2). Feet restored ; attenuated proportions.
2l6 CATALOGUE OF BRONZES.
1266. Heracles. He stands on r. leg, looking to his r., with r. hand on hip ; 1.
hand on his club, which rests on the ground. He is beardless, and wears the
lion's skin in the usual fashion, with mane fully indicated.
Ht. 5 1 in. Small ancient base.
1267. Heracles. He stands on 1. leg, looking to his r. ; in 1. hand he has probably
held the apples from the garden of the Hesperides. He is beardless, and wears
the lion's skin in the usual fashion ; the mane is carefully indicated.
Ht. 4| in. Blacas Coll., 1867. Right arm and both feet lost ; probably late Etruscan
work.
1268. Heracles. He stands with 1. foot drawn back, resting r. hand on hip ; in 1.
he has held out a cup (?) ; he is beardless, and wears the lion's skin as usual.
Ht. 6 in. Presented by A. W. Franks, Esq., C.B., 1888. Much worn ; green patina.
1269. Heracles. He stands on 1. leg, with r. hand on hip, holding a strigil in 1.
hand ; he is beardless, and wears a fillet, and lion's skin over 1. arm. The
attitude suggests that the figure has been copied from a good Greek original.
Ht. 6| in. Holes through the feet.
1270. Heracles (Hercules Bibax). He stands on r. leg, looking down to his r. ;
in r. hand he holds out a cantkaros, in 1. his club, resting against his arm. He
is beardless, with hair curly in front, fillet rising to a point over the forehead,
and lion's skin over 1. arm.
Ht. 8|in. ; without the base, 6f in. Payne Knight Coll. (obtained from Sir W. Hamilton).
Has suffered from over-cleaning. Ancient base, on which is an ivy-tendril inlaid in silver.
1271. Heracles (Hercules Bibax). He stands on r. leg, holding out a caiitharos
in r. hand, in 1. his club resting against his arm ; he is beardless, and his hair is
waved ; on his 1. arm hangs the lion's skin, stippled.
Ht. 6 in. Towneley Coll. Very rude ; ancient base, inlaid with an ivy-leaf in silver, but
not belonging to this statuette.
1272. Heracles (Hercules Bibax) reclining. His figure is boyish ; he reclines on
his 1. s:de, wearing the lion's skin over head and 1. arm, tied in front. In r. hand
he holds his club (broken), in 1. a cotyte ; his 1. leg is drawn up under the r.
Length 3 in. Ht. if in. Payne Knight Coll. (xlvi. 10).
1273. Heracles. He stands with 1. foot: advanced, as if moving to 1., looking to
his 1. ; his r. hand is raised, and has probably held his club ; he is beardless,
and holds out 1. arm with the skin spread over it as a shield.
Ht. yl in. Rude and barbarous.
1274. Heracles. As the last.
lit. 4 in. From Santa Maria di Capua. Bequeathed by Sir W. Temple, 1856.
STATUETTES OF HERACLES. 21 7
1275. Heracles. As the last two, but moving to r. and looking to the front.
Ht. 4i in.
1276. Heracles. He stands with 1. leg advanced, holding up his club in r. hand ;
he is beardless, with straight hair and a fillet, and over his 1. arm is the lion's
skin ; in 1. hand he has held some object.
Ht. 3^ in. Barbarous work.
1277. Heracles. He stands with 1. leg drawn back, in r. hand a horn, in 1. a cake
or fruit ; he is beardless, and his hair is curly in front ; above his forehead is an
ornament, and over his 1. arm he carries the lion's skin.
Ht. 3j in. Hamilton Coll. 49. Rude work.
1278. Heracles. He stands with r. leg slightly drawn back ; his r. hand is raised
and has probably held a club, and his 1. is extended, and has held some object ;
he is beardless, and carries the lion's skin over 1. arm.
Ht. 6} in. Right hand and foot restored.
1279. Heracles. He stands with 1. leg advanced, holding up his club in r. hand ;
his 1. hand is extended with open palm. He is beardless, and the lion's skin
(somewhat conventionalised) hangs over his 1. arm
Ht. 4I in.
1280. Heracles. He looks down to 1., holding out a bow and arrow in 1. hand ;
his r. hand has held up his club. He is beardless and has straight hair ; over
his 1. arm hangs the lion's skin, with the mane indicated. The figure is sturdy
and thickly-proportioned.
Ht. 4! in.
1281. Heracles. He stands with 1. leg drawn back, holding out a patera in r.
hand ; in 1. he has held some object. He is beardless, with straight hair, round
which is tied a band with two horns in front ; over his 1. arm hangs the lion's skin.
Ht. 5f in. Castellani, 1873.
1282. Heracles. He stands with 1. leg slightly advanced, looking to his 1. ; in
either hand he has held some object ; he is beardless, and wears the lion's skin
over 1. arm.
Ht. 5^ in. Bequeathed by Miss Auldjo, 1859.
1283. Heracles. He stands with club in r. hand resting on the ground ; he is
beardless and wears a fillet and the lion's skin tied in front ; in his 1. hand is a
horn (?).
Ht. 2 J in. In semi-relief; coarse style.
1284. Heracles. He stands on 1. leg, the body inclined to r. ; he is beardless,
and wears the lion's skin with paws tied in front.
Ht. 3 in. Very rude and worn ; feet lost.
2 I 8 CATALOGUE OF BRONZES.
1285. Heracles. He stands with feet close together, the 1. advanced, arms ex-
tended, with drapery over them ; he is beardless.
Ht. 2g in. Very rude and worn.
1286. Heracles. He is beardless and wears the lion's skin tied in front ; r. hand
on thigh, in the 1. a club.
Ht. 3! in. Legs from above the knees lost.
1287. Heracles. He stands on r. leg, with r. hand on hip ; he is beardless, with
curly hair and lion's skin over 1. arm ; in 1. hand his club.
Ht. 3f in. Rude and worn. Ancient base.
1288. Heracles. He stands with 1. foot slightly advanced, and has held up club
in r. hand and some other object in 1. ; he is beardless, and over his 1. arm and
shoulders is the lion's skin (?).
Ht. 2>l in. Rude and worn.
1289. Heracles. He stands on r. leg, holding his club in r. hand, resting on the
ground ; he is beardless, with curly hair, and wears the lion's skin over head
and 1. arm and tied round neck.
Ht. 3J in. Left hand lost. Small ancient base ; two loops at back for fixing to some
object.
1290. Heracles. He looks down to r., and holds his club in r. hand, resting on
the ground, and bow in 1. ; he is beardless, with close-curling hair, and wears a
himation over 1. shoulder and round lower limbs.
Ht. 4 in. Ancient base.
1291. Terminal Figure of Heracles. He is bearded, and wears a wreath and Plate
the lion's skin over his head, and wrapped all round his body, enveloping his XXX.
arms, like a himation ; in 1. hand is his club.
Ht. 6 in. Halicarnassos, 1896. Good work ; details of lion's skin very carefully rendered.
At the bottom is a piece for insertion into a socket. For the type cf. the statue at Sparta in
rosso antico (Roscher, Lexikon, i. p. 2170, s.v. ; Daremberg and Saglio, iii. p. 122, tig. 3802),
which this figure closely resembles ; also a chalcedony figure in Reinach, Picrrcs GravJcs,
pi. 20 (= Gori, Mus. Flor. i. 40).
1292. Heracles. He stands on r. leg, looking to his 1 , with r. hand on hip and 1.
arm supported by his club, which rests on the ground, the handle under the arm-
pit ; the club is covered by the lion's skin, and between the handle and his side
is part of a quiver (?). He is bearded, and wears a twisted fillet on which are
three rosettes, the ends falling on his shoulders ; in 1. hand he appears to have
held some object. The eyes are incised.
Ht. 2\ in. Payne Knight Coll. (xlvi. 2). This figure seems to be a replica of the
Farnese Heracles by Glycon, except that the motive of the right hand is different.
STATUETTES OF HERACLES. 219
1293. Heraoles. He stands with 1. foot advanced and r. hand on hip, his 1. arm
supported by the club, which rests on the ground with the lion's skin over it.
He is bearded, and wears a wreath tied with ribbons falling on the shoulders.
Ht. 5g in. Payne Knight Coll. (xlvi. I). Type as last. Patina ; flat ancient base.
1294. Heracles. He stands on r. lee, looking to his r., with r. hand extended
and club in 1. ; he is bearded, and wears a wreath of laurel or wild olive, tied
with a ribbon, the ends of which fall on his shoulders ; over his 1. arm hangs the
lion's skin.
Ht. 4i in. Castellani, 1873. Right hand lost ; rather rough work.
1295. Heracles. He stands with r. foot slightly advanced, and r. hand extended,
with open palm, club in 1. hand resting against his arm ; he is bearded, and wears
the lion's skin, which is stippled all over, hanging over 1. arm.
Ht. 2} in. Hamilton Coll. 78.
1296. Heracles. He stands on 1. leg, looking up to his r. at some object which
he has held up in r. hand ; he is bearded, and wears drapery (?) round his 1. arm ;
in 1. hand his club.
Ht. if in. Blacas Coll., 1867. Right fore-arm wanting.
1297. Heracles. He stands on 1. leg, looking down to his 1. ; his r. hand rests on
his hip, and holds a club (the greater part lost). He is bearded, and carries the
lion's skin over 1. arm ; he wears a poplar-wreath (?).
Ht. 3^in. From Anzi, Basilicata. Bequeathed by Sir W. Temple, 1856. Left hand lost,
and right leg restored ; corroded and in bad condition.
1298. Heracles. He stands with r. leg advanced, body and 1. foot thrown back,
looking down to his r. ; both hands are held up ; in r. has been a club, in 1. a
cup ; he wears a laurel-wreath tied with a ribbon, the ends of which fall on his
shoulders.
Ht. si in. Hollis Coll.
1299. Heracles. He stands on r. leg, looking to his r. ; he is bearded, and wears
a fillet ornamented with three rosettes, the ends falling on his shoulders.
Ht. 2>i in- Both hands restored, the right incorrectly.
1300. Heracles. He stands on 1. leg, looking to his r., his body slightly thrown
back ; his r. hand appears to have held a cup, and in 1. he holds his club head
downwards. He is bearded, and wears a fillet, the ends of which hang over his
shoulders ; on his 1. arm is the lion's skin.
Ht. 2~ in. Payne Knight Coll. (xlvi. 7).
1301. Heracles. He stands on 1. leg, looking to his r. ; his 1. hand is raised, with
bent fingers, and has probably held a spear ; he is bearded, and wears the lion's
skin over his head, the forepaws knotted in front.
Ht. 3J in. Blacas Coll., 1867. Coarse st>le ; right hand broken off.
2 20 CATALOGUE OF BRONZES.
1302. Heracles. He stands on 1. foot, looking down to his r., with r. leg advanced ;
he is bearded, and wears a fillet tied at the back ; in 1. hand he has held some
object at his hip.
Ht. 7 in. Payne Knight Coll. (xlvi. 18). Right arm broken off; has been fitted on with
a dowel. Very coarse and bad art ; has probably ornamented some piece of furniture.
1303. Heracles. He stands on r. leg, looking to his 1. ; he is bearded, and wears Plate
a wreath tied with a ribbon, the ends of which fall on his shoulders ; over his 1. XXVII.
arm is the lion's skin.
Ht. 6 in. From Rimini. Castellani, 1873. Hands broken off.
1304. Heracles (P). He stands with 1. leg bent, looking to his 1. ; he is bearded,
and wears a chlamys twisted round 1. arm ; in 1. hand he holds out a bird, the
head of which is lost.
Ht. 27s in. Right leg from above knee and right hand lost.
1305. Heracles. He stands on r. leg, with r. hand extended ; in 1. hand his club,
and over 1. arm the lion's skin.
Ht. 2| in. Said to be from Macri in Lycia ; obtained from Aleppo in 1862. Right foot
lost.
1306. Heracles (Hercules Mingens). He stands with both knees bent, as if
intoxicated ; his r. foot is drawn back, and he looks down to r. He is bearded,
and wears a pine-wreath tied with a ribbon, the ends of which fall on his
shoulders ; he holds his club in 1. hand over his shoulder.
Ht. 3i in. Payne Knight Coll. (xlvi. 8).
1307. Heracles (Hercules Mingens). As the last, except that his r. foot is not
drawn back, and he has no wreath.
Ht. 2g in. Rude style.
1308. Heracles (Hercules Mingens). As the last.
Ht. 1} in. Towneley Coll. Feet lost.
1309. Heracles (Hercules Bibax). He stands on r. leg, looking to his r., with
club in 1. hand, resting against his shoulder ; in r. he holds out a cotylh. He is
bearded, and carries the lion's skin over 1. arm ; he wears a fillet, the ends of
which fall on his shoulders.
Ht. i\ in. Payne Knight Coll. (xlvi. 6).
1310. Heracles (Hercules Bibax). He stands on r. leg, looking to his r., with
club in r. hand pointing downwards, and cotyte in 1. ; he is bearded and carries
the lion's skin over 1. arm ; he wears a twisted fillet ornamented with two
rosettes, the ends of which fall on his shoulders.
Ht. 4 in. Hamilton Coll. 82. Modern marble base, on the front of which is attached an
antique comic mask with an elaborately-arranged wig.
HERACLES. 22 1
1311. Heracles (Hercules Bibax). He stands with r. leg advanced, his body-
thrown back and resting on 1. foot ; in r. hand he brandishes his club over his
shoulder, and in 1. he holds out a cotyte ; he is bearded and looks to his r.
Ht. 3 in. Blacas Coll., 1867.
1312. Heracles (Hercules Bibax). He is seated on a rock, over which is spread
the lion's skin, falling over his r. thigh ; his legs are wide apart, the 1. foot
advanced, and 1. hand has been extended. He is bearded, and looks down to r.,
holding a cup in r. hand on r. knee.
Ht. 1 1 in. Obtained in the East by Lord Odo Russell. 1863. Left arm broken. The
type is that of Heracles Epitrapezios (see Jo urn. Hell. Slud. pi. 25, iii. p. 240).
1313. Heracles (Hercules Bibax). He reclines on the lion's skin, resting on 1.
elbow, with r. hand on knee ; in 1. hand he holds a cotylL He is bearded and
wears a wreath ; his 1. leg is drawn up under the r., which is slightly bent.
Ht. 1 1 in. Length 2 \ in. From Sicily. Hamilton Coll. Surface unsatisfactory.
1314. Heracles (Hercules Bibax). He reclines on the lion's skin, resting on 1.
elbow, with 1. leg drawn up under the r., which is slightly bent ; his r. hand rests
on r. knee, and in 1. he holds a cotylb.
Ht. Jin. Length if in. Much worn and defaced ; right arm broken.
1315. Heracles. He advances on 1. foot, the r. drawn back ; in r. hand he
brandishes a club, and in 1. he holds out some object ; round his 1. arm is
wrapped the lion's skin (?).
Ht. 3^ in. Payne Knight Coll. (xlvi. 20). Coarse style ; patina.
1316. Heracles shooting the Stymphalian birds (?). He kneels on r. knee,
drawing his bow (now lost) with r. hand.
Ht. 2 in. Very rude, and much worn and defaced.
1317. Heracles seizing the Keryneian stag, in relief. He has planted his
1. knee on its shoulder, and seizes one of its antlers with 1. hand, pulling its
head back.
Ht. 3J in. Length 2§ in. Hamilton Coll. The upper part of the relief is wanting ; it
has been attached to a piece of furniture.
1318. Terminal Figure of Heracles (?). He looks to r., is bearded and
ithyphallic, and is wrapped in a himation.
Ht. i\ in. Payne Knight Coll. (xlvi. 14). Rude and worn ; a hole in the top of the head.
1319. Terminal Figure of Heracles, head of. He is bearded and wears a fillet.
Ht. l\ in. Bequeathed by Sir W. Temple, 1856. Much worn.
2 22 CATALOGUE OF BRONZES.
1320. Head of Heracles, bearded, looking to his L, with closely-curling hair ;
eyes inlaid in silver (modern). The type is very similar to two marble heads in
the Third Graeco-Roman Room {Guide, 1879, p. 64, No. I4l,and p. 107, No. 203),
and also allied to the Farnese Heracles ; compare also the weight No. 2997.
Ht. 61 in. Surface much cracked and damaged ; very much restored, especially the neck
and beard, and one or two places on the head.
1321. Bust of Heracles, in high relief. He looks up to his 1., with a pained
expression ; he is bearded, and wears a vine-wreath, tied with a ribbon which
falls over his shoulders ; at his r. side is his club.
Ht. 2| in. From Gabii; found by Gavin Hamilton. Payne Knight Coll. (xlvi. 3). Has
been fixed to some furniture.
1322. Bust of Heracles. He looks up to his r. ; he is bearded, and wears a vine-
wreath ; over his 1. shoulder is a modern fawn's skin. The eyes have been inlaid.
Ht. 4f in. Payne Knight Coll.
1323. Mask of Heracles. He is bearded, with curly hair, and lion's skin drawn
over his head ; the lion's mane is partly indicated, and the hair and beard care-
fully rendered. Has been attached to some object.
Ht. if in.
1324. Head of Heracles, bearded, broken off from some object.
Ht. 1 1 in. Good work.
1325. Bust of Youthful Heracles. He is beardless, with short curly hair,
carefully rendered, and wears the lion's skin over 1. shoulder ; he looks to his 1.
Ht. 2| in. Towneley Coll.
II. MISCELLANEOUS DEITIES AND HEROIC FIGURES
(1326-1582).
J. DIONYSOS, SATYRS AND MAENADS (1326-1428).
1326. Youthful Dionysos. He stands on r. leg, the 1. foot placed on the root of a
tree (of wood, and modern), with r. arm extended from the shoulder ; his hair is
waved each side and gathered in a knot at the nape of the neck, with a curl on
each shoulder ; he wears an ivy-wreath with berries, and sandals. The eyes have
been inlaid with enamel or precious stones. The figure is fleshy, but the hair
and ivy-wreath are finely rendered ; the head is not unlike the colossal head of
Aphrodite, No. 266, being of an androgynous type.
Ht. 23* in. Payne Knight Coll. (xi. 5). Spec. Ant. Sculpt, i. pi. 74 ; Mansell, Brit. Mus.
Photographs, No. 874 ; Reinach, Repertoire, ii. p. 118, No. 3. Left arm lost, and nearly a'l of
the right arm ; other slight injuries. Purchased by Payne Knight in a broker's shop in
London. The arms had been restored in wood.
STATUETTES OF DIONYSOS, ETC. 223
1327. Youthful Dionysos. He stands on 1. foot, with r. foot drawn back, and
holds a thyrsos in r. hand ; he has a childish chubby face, and curly hair in which
is an ivy-wreath with berries, tied at the back ; over his 1. shoulder is a panther's
skin. The eyes have been inlaid ; the head and panther's skin have been attached
separately. The figure is finely modelled, and the metal, which is in admirable
preservation, resembles in colour and condition the bronzes cf Pompeii.
Ht. 1 8^ in. ; with the base, which is ancient, 20 in. From Pompeii (?). Bequeathed by
Sir W. Temple, 1856. Mansell, Brit. A/us. Photographs, No. 875 ; Reinach, Repertoire, ii.
p. 125, No. 1.
1328. Dionysos. A youthful, somewhat effeminate figure, with hair parted and
rolled up all round the head, ivy-wreath with berries tied at the back, and remains
of fawn-skin tied on 1. shoulder ; r. hand raised, with fore-finger pointing upwards.
The eyes have been inlaid with silver.
Ht. 20 J in. From Porto Trajano. Castellani, 1873. Left arm, right leg from knee, and
left foot lost.
1329. Dionysos. He stands on r. leg, looking down to his r., with 1. hand raised
to his shoulder, having probably held a thyrsos ; he is beardless, and his hair is
gathered in a knot at the back. He wears a vine-wreath tied with a ribbon, the
ends of which fall over his shoulders, and endromides with tops of panther's skin
turned over ; over his 1. shoulder is a panther's skin hanging down to the r. knee ;
the eyes have been inlaid.
Ht. 9I in. P'rom one of the Ionian Islands. Castellani, 1873. Right arm lost. The
body has been distorted by a wrench.
1330. Dionysos. He stands on r. leg, looking to his r., holding a bunch of grapes
in r. hand ; his 1. is raised, and has held a thyrsos. He is beardless, with long
curls, and wears a vine-wreath with ribbon, the ends of which hang down,
endromides with skin tops turned over, and a panther's skin over 1. shoulder.
Ht. 4}2 in. Castellani, 1873. Left foot lost.
1331. Dionysos. He stands on 1. leg, with head inclined over r. shoulder ; his 1.
hand is thrown back over his shoulder, and in r. he holds an uncertain object.
He is beardless, and wears an ivy-wreath, chlamys over shoulders, and sandals.
Ht. 4.I in. Payne Knight Coll. (xi. 2).
1332. Dionysos (?). He stands with r. hand over his head (which is inclined
over r. shoulder), in the attitude characteristic of Apollo Lykeios (cf. Brit. Mns.
Cat. of Vases, iv. F 31 1), holding a bunch of grapes in 1. hand by his side ; he is
beardless, and wears endromides and a panther's skin over 1. shoulder.
Ht. 3! in. Obtained by Sir C. Newton from Budrum, 1859. Attenuated proportions ;
coarse barbaric work.
2 24 CATALOGUE OF BRONZES
1333. Dionysos. He is represented as a boy, standing with r. foot drawn back,
and holding out a patera in r. hand ; in the 1. is a thyrsos, and the 1. forefinger is
extended. His hair falls in thick curls round his face, and he wears a fillet.
Ht. 4{ in. Bequeathed by Sir W. Temple, 1856.
1334. Dionysos. He stands on r. leg, with 1. foot drawn back, r. hand extended
as if having held some object, and 1. hand raised, having held a thyrsos. He
looks to his r., and his hair is parted and waved and gathered in a knot at the
back ; he is beardless, and wears a vine-wreath, fawn-skin over 1. shoulder, and
endrcmides. The eyes have been inlaid.
Ht. 6] in. 1838. Fingers of both hands and toes of left foot broken off.
1335. Dionysos. He stands on r. leg, with 1. foot drawn back, looking down to
his r. ; his r. hand is extended palm downwards and may have been pouring
from an oinochoe. He is beardless, and has long curls falling on the shoulders,
ivy-wreath and endromides.
Ht. 8g in. Payne Knight Coll. (xi. 4). Left arm lost.
1336. Dionysos. He stands on r. leg, with childish face slightly upturned to his
r. ; he is beardless, and wears a wreath, panther's skin over 1. shoulder, and
endrcmides. In r. hand he holds a cantharos ; his 1. has held a thyrsos.
Ht. 2j in. Hamilton Coll.
1337. Infant Dionysos. He stands on 1. leg, looking down, holding a cantharos
in r. hand ; his 1. has held a thyrsos. He wears an ivy-wreath, panther's skin
fastened on r. shoulder, and endromides.
Ht. 2} in. Payne Knight Coll.
1338. Infant Dionysos. He stands with r. foot slightly advanced, looking down
to his r. ; he has curly hair with a knot over the forehead, and a panther's skin
wrapped round his shoulders.
Ht. 2f in. Blacas Coll., 1867. Type resembling that of Eros.
1339. Infant Dionysos. He is dancing, with body inclined forward, and 1. foot
raised ; he has curly hair and wears an ivy-wreath tied with a ribbon, one end of
which he holds up in r. hand.
Ht. 2|in. Castellani, 1873. Left hand broken off.
1340. Infant Dionysos seated on a rock. He looks down to his 1., with legs
drawn up and 1. hand extended ; his r. hand rests on a club (?) : he wears a vine-
wreath tied with a ribbon, the ends of which fall on his shoulders.
lit. 2\ in. From Rome. Castellani, 1873. Left fore-arm broken off.
DIONYSOS. 225
1341. Infant Dionysos mounted on a female panther, astride on her back ; he
turns to his r., looking up, with I. leg extended behind, and 1. hand on the
panther's neck ; he has long curls, and in r. hand holds out a basket full of
grapes. The panther is seated on her haunches, with r. fore-paw raised, open
mouth, and an ivy-wreath round her neck fastened with a sash.
Ht. 2 1 in. Castellani, 1873.
1342. Infant Dionysos, on ancient base. He is seated with 1. leg doubled up, and
looks round over 1. shoulder, hugging a bunch of grapes in his arms ; he is nude.
Ht. 2 in. ; with base, 3 in. From Greece (?), 1865.
1343. Bust of youthful Dionysos. His head is slightly upturned to his r. ; he
wears a vine-wreath, and the pupils of the eyes are incised.
Ht. 3^ in. Payne Knight Coll. (xi. 1). Spec. Ant. Sculpt, i. pi. 65.
1344. Bust of Infant Dionysos. He looks to his r. ; he has curly hair arranged
after the manner of Eros, and on each shoulder is a small wing. He wears a
vine-wreath, and an ivy-wreath hangs from his neck ; eyes inlaid with silver.
Apparently a combination of the types of Dionysos and Eros.
Ht. 4j in. Towneley Coll. Surface injured by fire ; back cut away, probably for attaching
to some piece of furniture.
1345. Bust of Dionysos. He looks to his I., and is beardless ; he wears an ivy-
wreath, fillet, and panther's skin over 1. shoulder, and a long curl hangs over r.
shoulder.
Ht. if in.
1346. Term of Dionysos. He is bearded, and his hair is waved each side and
falls in long tresses ; he wears a fillet. On either side is a rectangular projection.
Ht. 2| in. From Anzi, Basilicata. Bequeathed by Sir W. Temple, 1856. Has been
fitted to some object as an ornament ; the back is cut away.
1347. Term, of Dionysos. He is bearded, and has long hair gathered in a mass
behind ; on his head is a wreath. On each side of the term is a rectangular
projection ; on the front, nine bars inlaid in silver, with another down the centre ;
between the seventh and the eighth is an eye inlaid in silver.
Ht. 4J in. Presented by General Meyrick, 1878. In the top of the head is a hole.
1348. Head of Youthful Dionysos. He is beardless, and wears a fillet and ivy-
wreath ; the eyes have been inlaid.
Ht. 2| in. Hollowed out ; has been used as a lock ; in the top is a keyhole, and on
either side is a ring for attachment.
Q
2 26 CATALOGUE OF BRONZES.
1349. Head of Dionysos. He is beardless, and his hair is rolled up all round the
head, with a tress hanging each side of the neck ; he wears an ampyx on which
are three ring-shaped ornaments, probably once set with gems, and above it on
each side projects a small horn. The hair is very carefully and smoothly
rendered, and the whole has a somewhat archaic effect. The head is mounted
on a modern term of rosso antico, round which hangs a modern vine- wreath.
Ht. 3 in. Payne Knight Coll. (xi. 9).
1350. Head of Dionysos, bearded, wearing a fillet ; the hair on the top of the
head is treated as in the last example, with thick curls below ; the eyes are inlaid
with silver, the pupils incised. The type would also suit Zeus or Poseidon.
Ht. 1 1 in. Castellani, 1873.
1351. Head of Dionysos or Pan. He looks downwards ; he is beardless, and
wears a fillet and vine-wreath ; on his forehead are two upright horns curving
back ; on either side of the head, a sort of floral pattern.
Ht. 2i in. Blacas Coll., 1867.
1352. Head of Dionysos or Pan. He is beardless, and has wavy hair and horns
as the last ; the eyes have been inlaid.
Ht. i\. Payne Knight Coll. (xxxiii. 6). Patina.
1353. Head of Youthful Dionysos (?). He looks slightly to his 1. ; he has long
hair twisted into separate locks, and wears a fillet, and a skin over 1. shoulder.
Ht. 2| in.
1354. Mask of Dionysos, in relief, which has been attached to the handle of a
vase. He is beardless, and wears an ampyx, and ivy-wreath with berries ; he
has wings (?) falling on either side of the face.
Height 3£ in. 185 1.
1355. Pan. He stands on r. leg on an ancient rocky base, with head thrown back,
looking up to his 1. ; he is bearded, and has goat's horns, ears, and legs ; below
his chin are two long wattles. In r. hand he holds an oinocliod by his side ; in
his 1. he has held up some object.
Ht. g\ in. Fingers of both hands and tip of one horn broken; otherwise in very fine
condition and vigorous in style.
1356. Pan. lie stands with 1. leg advanced, playing on the syrinx, which he holds
up to his mouth with his r. hand ; he is bearded and ithyphallic, and has goat's
ears, horns, and legs with very shaggy hair. In 1. hand he holds a pedum, and
from his 1. arm hang a goatskin bag and two bunches of grapes.
Ht. 2{ in. Payne Knight Coll. (Ixvi. 2).
DIONYSOS, ETC. 2 27
1357. Pan. He leans against a hollow cylindrical support, with 1. foot slightly
advanced ; he is bearded and ithyphallic, with goat's legs covered with shaggy
hair ; in r. hand a pedum resting on r. shoulder, and in 1. a syrinx on which he
is playing.
Ht. 3j in. Hamilton Coll. 189. The support may have been the handle of a knife.
1358. Youthful Pan, seated on a ram's head. He is seated with face the
opposite way to the ram's, and has a childish face and goat's legs, and arms
extended ; the figure is very diminutive.
Ht. 2^ in. Payne Knight Coll. Vaux, Handbook to Brit. Mus. p. 435.
1359. Mask of Pan. His beard falls in long wavy masses, and he has shaggy
hair and goat's horns and ears, the horns long and curling over the forehead ; the
eyes have been inlaid.
Ht. 4| in. Patina. Has probably been attached as ornament to a vase.
1360. Pan, in relief. He is seated to 1., beardless, with fillet, and skin (?) spread
under him, in r. hand a pedum, r. leg twisted under 1. On the 1. is seen part of
a column ornamented with a spiral pattern, on which is a syrinx.
Ht. 2 in.
1361. Seilenos. He stands with r. leg slightly advanced, looking down to his r. ;
he is beardless and very fat, with prominent belly. He wears a vine-wreath, and
holds a cup in r. hand and a vase in 1.
Ht. 5! in. From Apulia. Payne-Knight Coll. (xi. 6). Small flat ancient base.
1362. Seilenos. He kneels on a wine-skin with 1. knee, r. leg resting on the
ground, and looks up to his 1. ; he wears an ivy-wreath, and is bald except for
three tufts of hair. A himation hangs over his 1. shoulder ; his r. hand is held
out with fingers clenched, and his 1. is extended with open palm.
Ht. 2 in. Hamilton Coll.
1363. Seilenos. He looks to 1., and stands with 1. leg crossed over r. ; his r. hand
is extended, and in 1. he holds out a patera. His figure is squat, and he wears a
wreath and drapery twisted round his loins.
Ht. 3J in. Blacas Coll., 1867.
1364. Seilenos. He moves forward, with r. leg advanced, holding a tambourine (?)
in both hands ; he wears a wreath, shaggy woollen garment or shirt over the
upper part of the body, and drapery twisted round his loins.
Ht. 3;j in. Payne Knight Coll.
1365. Seilenos, upper part of, on a base in the form of a panther's foot ; a pair of
recurved wings is attached to the back, and drapery is twisted round the loins.
Ht. i« in. Payne Knight Coll. Very rude and much worn.
Q 2
2 28 CATALOGUE OF BRONZES.
1366. Seilenos, upper part of, terminating below the navel in three vine-leaves
turned downwards, below which is a panther's foot. He is bald, and wears an
ivy-wreath and drapery twisted round waist ; he has a flowing beard, and on his
arms and body hair is indicated by incised lines ; his hands are placed on
his hips.
Ht. 8|in. Payne Knight Coll. (lxxx. 5). Lower part much restored.
1367. Seilenos, upper part of, terminating in vine-leaves and panther's foot, as
last. He is very fat, and has a long flowing beard and moustache, both with
recurved ends ; his hands rest on his hips. The back of the figure is covered
with a vine-leaf, which terminates on the head in a double volute, pierced with
three holes.
Ht. 1 1 in. Payne Knight Coll. (lxxx. 6). Gori, Mus. Etr. pi. 60, figs. 2, 3.
1368. Satyr dancing. He stands on 1. leg, with r. foot raised, the heel touching
the 1. knee ; he looks upwards, and his hands are extended as if grasping
something. He has a long pointed beard, fawn-skin partially plated with silver,
and a fillet ornamented with three rosettes, each set with a garnet ; the eyes are
inlaid with silver.
Ht. 6 in. Very late and coarse in style.
1369. Satyr dancing. He rests on 1. leg, with r. foot advanced ; his r. hand is
raised to his ear, and I. extended with palm open outwards ; he is bearded and
wears a fillet.
Ht. 4 in. Towneley Coll. Right foot lost ; left leg repaired.
1370. Satyr. He is dancing, with face upturned, r. hand raised, and 1. by his
side ; his legs are bent, and he is bearded.
Ht. 3! in. Smyrna, 1885. Very rude ; hole in top of head.
1371. Satyr. He stands on r. leg, looking to his r. ; he is bearded, and holds in
each hand some object now broken away.
Ht. 5£in. Payne Knight Coll.
1372. Satyr. He moves forward, with 1. leg advanced ; he is bearded, and has
drapery twisted round his loins ; the eyes have been inlaid.
Ht. i\ i°- From Santa Maria di Capua. Bequeathed by Sir W. Temple, 1856. Right
foot lost, and top of head flattened.
1373. Bust of Satyr. He looks to r., and has a rough beard ; he wears an ivy-
wreath, and a goat-skin over r. shoulder, in the folds of which arc fruits, which
he holds up with 1. hand ; in r. hand is di pedum sloped over the shoulder. The
eyes have been inlaid.
Ht. 4| in. Payne Knight Coll. (lxxx. 2). The hollow at the back shows that it has been
attached as an ornament to a piece of furniture.
DIONYSOS, ETC. 2 29
1374. Bust of Satyr. He looks round to r., and wears an ivy-wreath and goat-
skin knotted on 1. shoulder ; his beard falls in long stiff curls. On the head a
few scattered locks of hair are incised, and on the arms and breast are tufts of
hair indicated by incised lines ; the pupils of the eyes are incised.
Ht. 4| in. Hollis Coll. 17. Has been applied as an ornament.
1375. Bust of Satyr with beard, ivy-wreath, and goat-skin as last ; he is bald,
and looks round to his r.
Ht. 3^ in. Payne Knight Coll. (lxxx. 8). Has been applied as an ornament.
1376. Bust of Satyr, flat at the back. He looks to his 1., and wears an ivy-
wreath and goat-skin knotted on r. shoulder ; he is bald, and his beard is
arranged in thick curls ; a fringe of hair is indicated on the goat-skin.
Ht. 3I in. Blacas Coll., 1867. Has been attached as ornament to furniture.
1377. Bust of Satyr. He looks up to his 1., and wears a goat-skin and band
over r. shoulder ; he is bald, and his beard is arranged in long parallel curls.
The eyes have been inlaid ; on the r. shoulder and on the goat-skin are incised
markings representing tufts of hair.
Ht. 3f in. Has been applied as an ornament ; in good condition.
1378. Bust of Satyr. He looks to his 1., and wears an ivy-wreath and goat-skin
fastened on r. shoulder ; he is bald, and his beard is arranged in loose curls ; the
ends of the ribbon fastening the wreath fall on the shoulders.
Ht. 4| in. Payne Knight Coll. (lxxx. 1). Has been applied as an ornament.
1379. Bust of Satyr. As the last except that the skin is fastened on 1. shoulder,
and there are no ends of ribbon on the shoulders.
Ht. 2 1 in. Towneley Coll. Flat at back ; has been applied as an ornament.
1380. Bust of Satyr. He looks up to his r., and wears an ivy-wreath and fawn-
skin over shoulders, fastened on the 1. ; his beard falls in straight curls, and the
eyes have been inlaid.
Ht. i\ in. Blacas Coll., 1867.
1381. Satyr. He advances on 1. leg, the r. foot drawn back, and carries an askes
over 1. shoulder, supporting it with r. hand behind his head, while he holds the
mouth in 1. hand ; he is beardless, and has curly hair.
Ht. 3 J- in. Payne Knight Coll. (xxxiii. 3). The surface of the bronze is tooled.
1382. Satyr. He has been represented staggering under the weight of a wine-
skin or vase now broken away ; his r. hand is raised above his head and has
supported the object carried, while the 1. has supported it from below. He is
beardless, and looks up to his 1. ; his hair is curly.
Ht. Sl in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Finely
modelled ; surface injured by over-cleaning. Lefi hand broken off; also fingers of right hand.
23O CATALOGUE OF BRONZES.
1383. Satyr. He advances on 1. leg, holding with both hands above his head a
stone which he is about to hurl down ; he is beardless, with curly hair.
Ht. 3f in. Right foot injured.
1384. Satyr. He stands on r. leg, with head thrown back, looking to r. ; in r.
hand is a syrinx, in 1. a pedum carried over the shoulder. He is beardless, and
wears a fawn-skin twisted round his body and passing over r. shoulder.
Ht. 5I in. Hamilton Coll. 121.
1385. Satyr. He stands with r. foot crossed over 1., having apparently leaned
against some support ; he is beardless, and wears a large ivy-wreath, and
panther's skin over r. shoulder ; his head is inclined to r.
Ht. 5 in. Payne Knight Coll. (xxxiii. 4). Right hand lost ; the left restored. Barbarous
work.
1386. Satyr. He stands on r. leg, with 1. foot raised, resting on a rock, looking
to his 1. ; his r. hand is raised to his forehead, with palm outwards, and 1. hand
extended. He is beardless, and wears an ivy-wreath, and panther's skin over
1. arm.
Ht. 6| in. ; with ancient base, 7| in. Payne Knight Coll. (xxxiii. 2). Left arm repaired.
1387. Satyr. He stands on 1. leg, looking slightly to his 1., holding a flute
(modern) in either hand ; he is beardless, and has thick curly hair falling on his
shoulders, like a lion's mane.
Ht. 5 in. Hamilton Coll. 69. Right arm repaired ; surface somewhat suspicious.
1388. Satyr. He starts back, with hands held up in front of him as if they had
held flutes ; his r. leg is bent and 1. foot advanced. He is beardless, and looks
to his 1. For the type, cf. No. 269 (Marsyas).
Ht. 5| in. Towneley Coll. Ber. d. sacks. Gesellsch. 1888, pi. 3, p. 294; Overbeck,
Gesch. d.gr. Plastik* i. p. 300, note 212. Very fine patina.
1389. Satyr. He stands with r. foot advanced and 1. drawn back ; his body is Plate
thrown back, and he looks to his 1. He is beardless, and has short horns over XXVIII.
the forehead, and wears endromides with tops turned over ; his r. hand is slightly
drawn back and holds a patera, and his 1. is raised above his head and has held
some object broken away.
Ht. 7| in. Castellani, 1873.
1390. Satyr, springing from the calyx of a flower with recurved leaves, which
rise nearly to the hips ; he is beardless, with curly hair ; in r. hand a pedum, with
1. he holds an askos over 1. shoulder.
Ht. 3; in. Blacas Coll., 1S67.
D10NYS0S, ETC. 23 I
1391. Satyr, springing at the hips from the calyx of a flower, below which is a
panther's foot. He is beardless, with curly hair and fillet, and holds in either
hand the paws of a kid which he carries on his shoulders ; behind it is an
ornament like a fleur-de-lys.
Ht. 6 in. Blacas Coll., 1867. Has ornamented a piece of furniture.
1392. Satyr issuing at the waist from the calyx of a flower ; he has a youthful
appearance, and looks to his 1. He has curly hair, and in r. hand is a pedum, in
1. a wreath ; a fawn-skin is fastened on 1. shoulder.
Ht. 2% in. From Rome. Castellani, 1873. Patina.
1393. Bust of youthful Satyr. He looks to r., and has curly hair, with ivy-
wreath, wattles under the chin, and a goat-skin over shoulders ; the eyes have
been inlaid The bust rests on the calyx of a flower.
Ht. 3~ in. Payne Knight Coll. (xxxiii. 1). Spec. Ant. Sculpt, ii. pi. 57. Patina.
1394. Bust of youthful Satyr, resting on the calyx of a flower. He has curly
hair tied in a mass at the back of the neck, wattles on chin, ivy-wreath, and
drapery fastened on 1. shoulder ; the pupils of the eyes are incised.
Ht. 3^ in., with ancient base. Towneley Coll.
1395. Head of youthful Satyr. He is slightly bearded, and wears a pine-
wreath ; his mouth is open, and the pupils of the eyes are incised.
Ht. 3I in. Has suffered from over-cleaning, which gives it a modern appearance.
1396. Bust of youthful Satyr. The head is inclined to 1., the hair is carefully
rendered in smooth masses, and on the shoulders are two straps (?). The head
is fixed on a modern term of rosso antico, on which hangs a modern vine-wreath.
Ht. 3f in. Payne Knight Coll. (xxxiii. 8). The eyes have been inlaid.
1397. Terminal figure of youthful Satyr (?). He turns slightly to 1. ; he has
infantile features and smooth hair drawn up all round towards the top of the
head ; a goat-skin is fastened on the 1. shoulder, the legs of which hang down.
Ht. 8-J in. Towneley Coll. Gori, Mus. Etr. pi. 52, fig. 1. The head is that of a young
Satyr, but the breasts are female.
1398. Terminal figure of Satyr. His head is inclined to r., looking to 1 ; he is
bearded, and wears a. polos ; on his 1. arm is a goat-skin full of clusters of grapes.
A hand is placed on his 1. shoulder, with 1. fore-arm, belonging to another figure,
of which this had formed the support.
Ht. 2 1 in. Blacas Coll., 1867. Right arm lost ; had been put on separately.
1399. Terminal figure of youthful Satyr. The term is inlaid with patterns of
silver down the front, a kind of diaper with wave-border ; it stands on a plinth of
three steps and has an iron core ; on the top of the head is a socket which has
supported some object
Ht. 5J in. 1895.
232
CATALOGUE OF BRONZES.
1400. Head of youthful Satyr (?). Rather long hair, and pointed ears.
Ht. if in. Cast solid ; barbaric in style.
1401. Mask of youthful Satyr (?). He has curling hair ; the eyes have been
inlaid.
Ht. 2# in. Sloane Coll. 470.
1402. Head of youthful Satyr, set in a border.
Ht. 1 j in. Hollow at the back ; has been applied to a piece of furniture.
1403. Head of youthful Satyr, as the last.
Ht. i\ in. Towneley Coll.
1404. Mask of youthful Satyr. Hair twisted up on top of the head, with
clusters of ivy-berries ; eyes and teeth inlaid in silver.
Ht. if in. Bequeathed by Sir W. Temple, 1856. Patina.
1405. Mask of Satyr or Aegipan. Shaggy hair and beard, pointed ears, and goat's
horns ; ampyx and ivy-wreath. On the top of the head are two rings surrounded
by a floral pattern.
Ht. 3! in. Payne Knight Coll. Has been attached to some object.
1406. Mask of Satyr, bald and bearded.
Ht. -| in. From Corfu. Woodhouse Coll., 1868.
1407. Mask of Satyr, oald and bearded, with ears projecting forward.
Ht. i| in. Presented by General Meyrick, 1878.
1408. Mask of Satyr. Bearded, with top-knot on forehead.
Ht. i\ in. Has been fixed to some object.
1409. Head of Satyr in high relief, bearded.
Ht. 2j in. Towneley Coll. Much corroded ; has been attached to some object.
1410. Head of Satyr in high relief, bald and bearded ; on the forehead, two
clusters of ivy-berries.
Ht. 1 in. Coarse work.
1411. Youthful Dionysiac head, used as a weight. Round the head is an ivy-
wreath.
Ht. if in. ; with handle, 4 in. Found near Nimcguen, Holland, 1674. Payne Knight Coll.
(xi. 2). Spec. Ant. Sculpt, ii. 35 ; Cuper, Harpocrates, in Poleni, 1 hesaur. Ant. rom. graec.
Suppl. ii. p. 444. In the top is a hole ; on either side a ring, to which a handle ii fastened.
Fine patina.
DIONYSOS, ETC. 233
1412. Bust of youthful Satyr, in high relief. He has pointed ears and a
panther's skin knotted on r. shoulder, the head of which lies over 1. shoulder ; on
his breast are clusters of grapes.
Ht. 6 in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Has been
attached to a piece of furniture.
1413. Heads of Maenad and Satyr conjoined, in high relief, forming a handle.
The Maenad's head on the 1. is covered with a close cap, round which is a crossed
fillet punctured in a lozenge pattern ; on the r. is the Satyr's head, with horns
and thick clustering hair.
Ht. 4| in. From Athens. Castellani, 1873. Dark green patina. Between the heads is
a circular opening ; on the top of each is a ring-shaped handle. Compare De Ridder, Bronzes
de la Soc. Arch. d'Athenes, No. 875.
1414. Bust of Maenad, rising from the calyx of a flower ; the hair is rolled up
behind, and she wears an ivy-wreath with berries, and a goat-skin over 1. shoulder.
Ht. \\ in. Towneley Coll. Ancient base. On the back has been an oblong dowel for
attachment, now filed away.
1415. Bust of Maenad. She looks to her 1. ; her hair is gathered in a knot at
the nape of the neck, and she wears an ampyx, and an ivy-wreath tied with a
ribbon, the ends of which fall on the shoulders.
Ht. ij in.
1416. Bust of Maenad. She looks over r. shoulder ; her hair is twisted up
behind, and she wears an ivy-wreath with berries, armlet on r. arm, and goat-
skin fastened on r. shoulder. The eyes have been inlaid.
Ht. 3J in. Towneley Coll. Left shoulder broken away.
1417. Bust of Maenad. She looks upwards, and wears an ivy-wreath and goat-
skin over shoulders ; her hair is rolled up all round.
Ht. i\ in. Towneley Coll. Has been fixed to a piece of furniture.
1418. Bust of Maenad. She looks to her 1. ; her hair falls in curls on the
shoulders, and is gathered in a knot at the nape of the neck ; she wears an
ampyx and ivy-wreath, and a goat-skin fastened on 1. shoulder.
Ht. \\ in.
1419. Bust of Maenad. She looks over her r. shoulder ; her hair is twisted up
behind, and she wears an ivy-wreath, and drapery fastened on r. shoulder. The
eyes have been inlaid.
Ht. 3f in. Towneley Coll. Left shoulder broken away.
1420. Bust of Maenad. She looks upwards ; her hair is rolled up all round the
head, and she wears a wreath, and drapery over shoulders.
Ht. i\ in. Towneley Coll.
234 CATALOGUE OF BRONZES.
1421. Mask of Maenad, from handle of vase, with hair falling on either side of
the face, wearing ampyx and ivy-wreath.
Ht. 3! in. 1851. Much corroded.
1422. Seilenos reclining on his r. side, resting on r. elbow ; his 1. hand is placed
on his thigh, and 1. leg crossed over r. ; he is bearded, and wears a himation.
Ht. \\ in. ; length 2| in. Castellani, 1873. Blue patina.
1423. Dionysiac figure, or river-god, reclining on a panther's skin, looking up to
his 1., with 1. leg twisted under the r. He is nude and bearded, and wears a
fillet ; in 1. hand he holds a cornucopia, in r. a fillet (?).
Ht. if in. ; length 2\ in. Pulsky Coll., 1868 {Cat. 172). Head injured.
1424. Hand from figure of Dionysos (or Heracles), holding a skyplios.
Length if in. Payne Knight Coll. (xlvi. 5).
1425. Oscillum of Dionysos (P). He is beardless, with horns like a bull, over
which the hair falls, and pointed ears ; a wavy line is incised across the cheeks.
Ht. 2-| in. Sloane Coll. 469.
1426. Oscillum of Dionysos (?). He is beardless, and wears a thick fillet ; on
the top of the head are horns (?).
Ht. I £ in. Rather worn.
1427. Oscillum of Dionysos (P). He is beardless, with fillet, wreath (?), and
wavy hair ; on the top of the head are horns broken off (?).
Ht. 1 \ in. Towneley Coll. Top part of head injured.
1428. Oscillum of Dionysos. He is beardless, with thick curls on either side of
the face.
Length if in. Payne Knight Coll. Beautiful dark green patina.
K. VARIOUS DEITIES, HEROIC FIGURES, etc. (1429-1455).
1429. One of the Dioscuri. He stands on 1. leg, with 1. arm advanced ; he has
rich curly hair, and wears a conical cap and large chlamys fastened with a brooch
on r. shoulder ; he is tall, and of slender proportions.
Ht. 5^ in. Payne Knight Coll. (Ixvii. 1) ; obtained from Sir W. Hamilton. Right arm
and left hand lost.
1430. Asclepios. He reclines with 1. leg crossed over r., leaning 1. elbow on a
cushion ; he holds a patera in r. hand, and in 1. the head of a snake which is
coiled up under his 1. elbow. He is bearded, and his hair is parted and waved ;
over his lower limbs is a himation.
Ht. i,; in. ; length z\ in. Hamilton Coll. 145.
STATUETTES OF DEITIES AND HEROES. 235
1431. Hygieia. She stands with 1. leg advanced, looking to her r. ; she holds out Plate ■
r. arm, round which is coiled a snake (the head broken off) ; in 1. hand she holds XXVII.
out a patera containing a conical fruit. Her hair is rolled up each side and
knotted at the back, with a curl on each shoulder ; she wears a high sphendone,
long girt sleeved chiton, himation over 1. arm, and sandals.
Ht. 5 1 in. Towneley Coll.
1432. Hygieia. She stands on r. leg, looking down to her 1. towards a snake
twisted round her 1. arm ; in r. hand she holds out some object towards it. She
is attired as the last figure.
Ht. 3f in. ; with ancient base, 5| in. Payne Knight Coll. Fine patina.
1433. Female Deity. She stands with r. leg drawn back and r. hand extended ; her
hair is drawn back to the nape of the neck and gathered in a sort of loose plait
down the back. She wears a sphendone with a small wing at each end (one broken
off), earrings, necklace with a crescent in the middle, long girt chiton leaving 1.
breast bare, himation over lower limbs, and shoes.
Ht. iof in. Payne Knight Coll. Ancient base ; good patina.
1434. Female Deity. She stands with r. arm on hip, holding out an apple (?)
in 1. hand ; she wears long chiton, and himation over 1. shoulder, girt round
the waist, and her hair is arranged in parallel waves and gathered up behind.
Ht. 2| in. From Tel-Mogdun, Syria, 1886. Romano- Egyptian style.
1435. Female Deity (?). She stands on r. leg, looking to her 1., with r. hand on
hip ; the 1. has held some object. Her hair is parted and gathered in a knot at
the back, and she wears sphendone, long girt chiton, himation twisted round the
waist and over 1. arm, falling in pteryges on the 1. side, and shoes. The attitude
suggests Aphrodite ; probably the figure is copied from a Greek original.
Ht. 4| in.
1436. Female Deity. She stands with 1. arm doubled up and r. hand by her side
holding a wand (?) ; her hair is gathered in a queue at the back, and she wears
a sphendone and long girt chiton with apoptygma.
Ht. 2I in. 1874. Legs broken off; not worked at back.
1437. Winged Female Deity. She stands with 1. foot drawn back and hands
extended ; she wears shoes, and an anklet on 1. leg, and her hair rises in a sort
of crest over the forehead and is tied in a queue behind.
Ht. 3I in. Millingen Coll., 1836. Hands injured. Very slender proportions ; perhaps
Etruscan.
1438. Bust of Amazon. She looks down to her r. ; her hair is parted and waved
236 CATALOGUE OF BRONZES.
to the back of the head, and she wears a chlamys fastened with a brooch in front ;
the eyes have been inlaid.
Ht. 3I in. Payne Knight Coll. (ii. bis). Caylus-Grivaud de la Vincelle, Recueil cTAntiq.
Suppl. pi. 4, fig. 8 ; Kliigmann in Bull. delP hist. 1878, p. 39 ; Michaelis in Jahrbuch, i.
(1886), p. 19. Michaelis refers this head to the Capitoline type (cf. his No. ii. b and p. 28), which
he derives from Pheidias, but which Furtwaengler ^Meisteriv. d. gr. Plastik, p. 286 ff.) attributes
to Cresilas.
1439. Bust of Amazon. The hair is parted and waved ; she wears a helmet
resembling a Phrygian cap surmounted by the head of a Gryphon, chiton and
chlamys over 1. shoulder, and a belt over r.
Ht. 4| in. Blacas Coll., 1867. Probably from a piece of furniture ; traces of gilding.
1440. Atlas. He kneels on 1. knee, with head bent forward ; both arms have Plate
been raised above his head to support the world which he has carried. He has XXVII.
thick tufted hair and beard, with four long tresses falling on the neck.
Ht. 2f in. Payne Knight Coll. Right hand, left fore-arm, and right foot lost. A hole
has been drilled in the back of the neck for attaching the weight which he carried.
1441. Head of Io, with cows' horns and ears, short hair, and fillet.
Ht. 27s in. 1850. Ring on top of head.
1442. Odysseus (P). He wears conical cap, short chiton, and chlamys fastened
with a brooch in front ; his hands have been extended.
Ht. 2 j in. Feet and fore-arms broken off; very coarse and much worn.
1443. Odysseus, relief of. He moves to 1., and is bearded, with conical cap,
chlamys fastened with a brooch in front, endro?>iides, and spear in both hands ;
on the ground is a rosette.
Ht. 3I in. Hexamila (Lysimachia in Thracian Chersonese), 1876. Low relief; the type
is not otherwise known. At the bottom are two holes for attachment.
1444. Odysseus offering wine to Polyphemos. He moves to r. with 1. leg
advanced and body bent forward, holding a cantharos in r. hand, while with 1.
he presses a wine-skin, the neck of which rests on his 1. knee, in order to fill the
cantharos ; he is bearded, and wears a conical cap, cuirass, short sleeved chiton,
and endromides ; on his 1. arm is a small round shield.
Ht. 3$ in. (with ancient base). Payne Knight Coll. (xciii. 1). This bronze appears to
have formed an ornament for some piece of furniture.
1445. Odysseus escaping from Polyphemos. The fore-part of Odysseus is seen
looking up from under the ram (of which only the fore-part is given) ; he clasps
it round the shoulders.
Ht. 1 1 in. Corroded and somewhat worn and injured.
DEITIES AND HEROES. 237
1446. Odysseus escaping from Polyphemos. The ram stands with head turned
slightly to 1. ; Odysseus hangs underneath its belly, clutching its sides with both
hands, and pressing his feet against its hind-quarters for support. His head
appears in front ; he is beardless, with conical cap and short chiton.
Ht. 2\ in. From Paramythia in Epirus. Payne Knight Coll. (Ixxiii. 1). The ram's
fore-legs are injured. Although the bronze is of late date, the type is familiar on black-
figured vases (cf. Brit. A/us. Cat. of Vases, ii. B 687, and J cum. Hell. Stud. iv. p. 248 ff.).
1447. Mask of Polyphemos. He has rough shaggy hair and beard, with an eye
in the middle of the forehead ; the sockets and eyebrows of the other eyes are
indicated ; the mouth and nostrils are hollow.
Ht. 2v in. From Cilicia. Presented by A. W. Franks, Esq., C.B., 1869. Butcher and
Lang, Odyssey, frontispiece. Injured round the top, and much oxidized.
1448. Mask of Polyphemos. The hair and beard form a sort of open-work
border to the face ; there is only one eye, immediately above the nose ; on
either side of the head is a volute.
Ht. 2 in. Has been attached to some object ; flat at the back.
1449. Fury. She advances on 1. foot, the r. drawn back, with raised heel ; in either
hand she holds by the neck a bearded snake which is twisted round the arm.
She is winged, and wears long chiton fastened with brooches on the shoulders
and apeptygma with incised diaper border ; her hair is parted in front, and falls
in smooth waves to the neck.
Ht. 11} in. Hamilton Coll. 15*. Found near Mt. Vesuvius. At the back of the head are
remains of a support. This figure appears to be cf Etruscan workmanship.
1450. Orestes (or Paris) taking refuge on an altar. He kneels with 1. knee on a
small square altar with moulded top and bottom ; he looks down to his 1., with
body bending over to the 1., hands held out, and r. foot extended. He is beard-
less, and wears a chlamys wrapped round 1. arm ; he has held some object in
each hand, perhaps a sword and sheath. The head is well modelled.
Ht. 5«- in. Castellani, 1873. Newton, Castellani Collection, pi. 7. Good patina.
1451. Icaros flying. He looks up to his 1., and his 1. foot is slightly advanced ;
he is beardless, with straight thick hair. Large wings are attached to his
arms, which are extended diagonally, the 1. upwards, the r. downwards ; on
his feet are smaller wings.
Ht. 3f in. Blacas Coll., 1867. Cf. Arch. Zeit. 1877, pi. 2, and see Roscher, Lexikon. s. v.
1452. Icaros flying. His r. leg is drawn back ; he is beardless, with hair arranged
in tufted curls round his face. Large wings are attached to his arms by straps
on the wrist and upper arm, spread nearly at a right angle to the body.
Ht. 4 \ in. Crete, 1867. Both feet broken away. Rude woik, but interesting.
238 CATALOGUE OF BRONZES.
1453. Meleager (?). He stands with r. leg advanced and 1. drawn back ; his r.
hand is drawn back as if to plunge the spear which it has held into the
Calydonian boar ; the 1. hand is held out palm downwards. He is beardless,
and looks down as if at the boar ; his hair is roughly treated, and over his 1.
arm and round his neck is wrapped a chlamys. The action is very spirited,
and the figure well modelled ; it may also represent Actaeon, as in the group
in the Graeco-Roman gallery {Mus. Marbles, ii. pi. 45).
Ht. 18 in. Pulsky Coll., 1868 ; formerly in the possession of Count Collalto at Vienna.
Cat. Pulsky, No. 203 (frontispiece) ; Mon. delP Inst. 1854, pi. 8, p. 49 ; Reinach, Repertoire,
ii- P- 555) No. 7. The fingers of both hands are broken.
1454. Ajax son of O'ileus(P). A beardless warrior advances to his 1. in the Plate
attitude of Ajax son of Oileus on the coins of Opuntian Locris ; his body is bent XXVIII.
forward, and 1. leg advanced. In r. hand, which is drawn back, he probably held
a spear, and in 1. hand some cylindrical object. He wears a conical crested
helmet, fastened under the chin with a strap, such as is often seen on the vases
of Southern Italy (cf. Cat. of Vases, iv., F 281, 324, 335) ; his hair is very short,
and the pupils of the eyes are incised.
Ht. 5 in. From Corfu. Woodhouse Coll., 1868. Good work ; green patina. There is a
similar example from the Blacas Coll. in the Cabinet des Me'dailles at Paris (Babelon and
Blanchet, Bronzes de la Bibl. Nationale, Si 5 = Reinach, Must'e de S. Germain-en-Laye, 182).
1455. Zethos, from a group of the punishment of Dirke by fastening her to the
bull. He moves forward, almost in back view, with r. foot advanced, looking to
his r. ; his r. arm is extended and the hand held up, with fingers clenched over
some cylindrical object now lost. In 1. hand he grasps a lock of hair, which
must belong to Dirke ; he is beardless, and wears a chlamys over his shoulders.
The eyes have been inlaid.
Ht. 4| in. Towneley Coll. Part of the left side, right foot, and chlamys, and the fingers
of the left hand, have been cut away, to combine the figure with another in the same group,
which must have corresponded with the Farnese group at Naples. The left hand of Zethos in
that group has been wrongly restored, and should hold a lock of hair, as here.
L. ISIS AND HARPOCRATES (1456-1508). 1. ISIS (1456-1472).
1456. Isis. She is seated with feet on a footstool, placed obliquely, and looks
slightly to her r. ; her hair is waved over a sphe?ido?ic and tied in a knot at the
nape of the neck, with a tress falling on each shoulder. She wears the crowns
of the North and South, with crescent in front, long chiton, and himation ;
her r. hand holds the handle of a steering-oar, round which a snake is twined ;
in 1. h:ind she holds a double cornucopia containing grapes and other fruit.
Ht. 4% in. From the Greek Archipelago. Castcllani, 1S73.
STATUETTES OF ISIS. 239
1457. Isis. She stands on r. leg, looking to her r., and holds up r. arm, round
which a serpent is twisted ; a situla hangs from her 1. wrist. Her hair falls in long
curls, and on her head is a broad-brimmed hat, surmounted by the lunar disc
between cow's horns ; she wears a long chiton fastened between the breasts with
the knot known as nodus Isiacus, and himation round legs and over 1. shoulder.
Ht. 5 in. Pulsky Coll., 1868 {Cat. 158). Coarse style ; left hand broken.
1458. Isis. She stands on r. leg, holding a sistrum in r. hand and a cornucopia
(see Roscher, Lcxikon, s.v. Isis, p. 457) in 1. ; her hair falls in a mass behind, with
a tress on each shoulder. She wears a fillet, long sleeved chiton, and himation
fastened on breast with the nodus Isiacus ; on her head is the lunar disc within
a crescent resting on two cow's horns.
Ht. 3^ in. Payne Knight Coll. (li. 2).
1459. Isis. She stands on 1. leg, looking to her r., holding a cornucopia in 1. hand ;
her hair is gathered in a knot at the back, and she wears a necklace, long chiton,
and himation twisted round waist and gathered over 1. arm ; on her head is the
lunar disc within a crescent, resting on two cow's horns, and behind, a fillet and
a calatkos.
Ht. \\ in. Right hand broken off.
1460. Isis. She stands on r. leg, looking to her r. ; her hair is gathered in a
knot behind, with tresses on the shoulders, and she wears a long chiton fastened
in front with the nodus Isiacus, and a himation over 1. shoulder and round lower
limbs. She appears to have held a cornucopia in r. arm ; on the r. side of her
skirts is attached an object of rhomboidal shape.
Ht. 2| in. Both fore-arms broken off.
1461. Isis. She stands with 1. foot advanced, holding up the uracus in r. hand ;
her 1. hand holds a situla at her side. She wears a long chiton and himation
fastened in front with the ncdus Isiacus ; on her head is the solar disc with three
feathers. This figure has been used as an amulet.
Ht. 2} in. Hamilton Coll. Very rude and much worn ; at the back, a loop for suspension.
1462. Isis. She stands on r. leg, holding the infant Horus on 1. arm ; her r. hand
is raised, and may have held a sistrum. She wears a sphcndont, long chiton with
cross-bands over breast, and himation round lower limbs.
Ht. l| in. Very rude ; probably a modern cast.
1463. Isis. She stands on 1. leg, looking to her r. ; in r. hand she holds an uraeus,
in 1. a situla. She wears a long chiton and himation fastened in front with the
nodus Isiacus ; on her head is the solar disc between two horns.
Ht. 1 in. Hamilton Coll. At the back, a loop for suspension ; has been used as an amulet.
24O CATALOGUE OF BRONZES.
1464. Isis. She stands on 1. leg, looking to her r. ; in r. hand she holds a sistrum,
and in 1. a cornucopia ; she wears a long chiton and himation.
Ht. if in. At the back, a loop for suspension ; has been used as an amulet.
1465. Isis. She stands on 1. leg, looking to her r. ; in r. hand is a cornucopia
(broken), and in 1. a sistrum. Her hair is twisted up all round and gathered in
a knot at the back, and she wears a long girt chiton and himation over the
shoulders and back. The eyes have been inlaid.
Ht. if in. Payne Knight Coll. (Hi. 4).
1466. Isis (or an Egyptian queen in that character). She stands on 1. foot, with
r. foot drawn back, looking to her r. ; her hair is rolled up under a fillet and
gathered in a knot at the back, with a curl in front of each ear and two over each
shoulder. She wears a necklace, sandals, long sleeved chiton, and fringed
himation over lower limbs, fastened in front with the nodus Isiacus ; on the r. arm
the folds are indicated by incised lines. The eyes have been inlaid.
Ht. IOj in. Castellani, 1873. Arms lost ; good patina.
1467. Isis. She stands with 1. foot advanced, holding up a patera in r. hand ; in
1. hand she holds a situ/a by her side. The hair is arranged in parallel curls,
falling on the shoulders, and over the forehead is the head of a vulture, the
Egyptian emblem of maternity or of a queen-mother (see Roscher, Lexiko?i,
s.v. Isis, p. 503, and compare the ' Dione ' from Paramythia, No. 279). She
wears a long chiton and himation fastened in front with the ncdus Isiacus. This
figure may possibly represent a queen of the Ptolemaic dynasty in the character
of Isis.
Ht. 2>i in- Found near Mount Vesuvius. Payne Knight Coll. (li. 3). Spec. Ant.
Sculpt, i. 70, 1 ; Reinach, Repertoire, ii. p. 421, No. 3. Toes of left foot broken off.
1468. Empress in the character of Isis. She looks down to r., and has a situ/a (?)
in r. hand ; in 1. she holds out a patera. Her hair is gathered in a knot behind,
with a tress on each shoulder ; she wears an open-work step/ianc, long chiton
with looped-up sleeves, and himation round lower limbs and over 1. arm.
Ht. 4^- in. Found near Mount Vesuvius. Payne Knight Coll. (li. 4). Spec. Atit. Sculpt.
i. 70, 2 ; Reinach, Repertoire, ii. p. 421, No. 5.
1469. Bust of Isis. She lcoks to her r., and her hair is gathered in a knot behind,
with two curls on each shoulder ; on her head is the solar disc between two
plumes, resting on cow's horns, and on her breast is drapery fastened with the
nodus Isiacus.
Ht. 2| in.
1470. Bust of Isis, or of an Empress as Isis. She wears a stcphauc, with incised
pattern, ami the solar disc resting on cow's horns, with two feathers above,
STATUETTES OF HARPOCRATES. 24 1
and on cither side an uraeus wearing a solar disc ; her hair is drawn back and
tied in a club behind, and drapery is fastened on her r. shoulder.
Ht. 2-1 in.
1471. Head of Isis. She wears a radiated sphendone, in the centre of which is the
uraeus projecting from a disc of feathers ; above are two hawk's plumes, and the
back of the head is fashioned like the crest of a helmet surmounted by a hawk.
Ht. 1 1 in.
1472. Head of Isis. She wears the solar disc resting on cow's horns, with a
hawk's feather on either side.
Ht. \\ in.
2. HARPOCRATES (1473-1508).
1473. Harpocrates. He stands with 1. leg slightly advanced, head inclined Plate
downwards to his r., and r. fore-finger placed on chin ; his hair is tied in a XXX.
top-knot on the forehead, and drawn back in four parallel tresses tied and plaited
together at the ends, the rest falling in short curls round the head. He wears
the crowns of the North and South, and has held some object in 1. hand.
Ht. 85 in. From Egypt. Presented by Somers Clarke, Esq., F.S.A., 1896. Surface
good ; well preserved.
1474. Harpocrates. He stands with r. leg drawn back, and r. fore-finger raised
to his mouth ; his hair is tied in a top-knot over the forehead, with a plait along
the top of the head, like that of Eros ; it falls in curls on the shoulders. In his
1. hand is a cornucopia, round which is twisted an uraeus ; on his head are the
crowns of the North and South.
Ht. 5 in. Both feet broken off above ankles.
1475. Harpocrates. He stands on r. leg, with body inclined backwards to 1.,
looking to his 1. ; his r. fore-finger is raised towards his mouth. He has curly
hair, with a plait along the top of the head, and wears the crowns of the North
and South ; in 1. hand is a cornucopia.
Ht. 3 in. Hamilton Coll.
1476. Harpocrates. He stands on r. leg, with 1. foot extended, his body inclined
to the 1. ; his r. fore-finger is placed on his mouth, and in 1. hand he holds a
cornucopia. His hair is gathered in a knot at the back, and he wears the crowns
of the North and South.
Ht. 2-\ in. Payne Knight Coll. (xliii. 1).
1477. Harpocrates. He stands on r. leg, looking down to his 1. ; his r. fore-finger
is placed on his mouth, and in his 1. hand is a cornucopia, resting on the stem of
a vine. He has curly hair, and wears the crowns of the North and South, and
a chlamys over 1. shoulder.
Ht. 2^ in. Mollis Coll.
R
242 CATALOGUE OF BRONZES.
1478. Harpocrates. He stands on r. leg, looking to his r.,with r. hand on mouth,
and cornucopia in 1. hand, resting on a vine-stem ; he wears the crowns of the
North and South.
Ht. \\ in. Towneley Coll.
1479. Harpocrates. He has stood on r. leg, with r. fore-finger raised to mouth,
and in 1. hand a cornucopia ; he wears the crowns of the North and South.
Ht. 1 in. Hamilton Coll. Both legs lost. At the back, a ring for suspension ; has been
used as an amulet.
1480. Harpocrates. He stands on r. leg, looking to his 1., with cornucopia in 1.
hand supported on a vine branch ; his r. hand is raised to his mouth ; he has
curly hair, and wears the crowns of the North and South.
Ht. 1 in. Towneley Coll. Both legs broken ; at his left side a hole is pierced for
suspension. Rude and worn.
1481. Harpocrates. He stands on r. leg, looking to his 1., with r. hand raised to
mouth ; in 1. hand a cornucopia supported on a vine-branch ; he wears the crowns
of the North and South, and on the r. side of his head is a tress of hair in the
form of a loop, the emblem of youth.
Ht. if in. Payne Knight Coll. Much worn ; a ring had been attached at the back.
1482. Harpocrates. He stands on r. leg, with r. hand raised towards mouth ; in
1. hand is a cornucopia, by the side of which is an uracus. His hair is arranged
like that of Eros, with top-knot and a plait along the top of the head, falling in
curls ; he wears the crowns of the North and South, and a chlamys round 1. arm,
trailing on the ground ; a bulla is suspended round his neck.
Ht. 2| in. Hamilton Coll. 164. Lower part of chlamys restored.
1483. Harpocrates. He stands on r. leg, with r. fore-finger on mouth ; in 1. hand
a cornucopia. He wears the crowns of the North and South, and over his r.
shoulder hangs a quiver ; at his 1. side is the uraeus, passing round his back over
1. shoulder. A dog looking up at him sits on r. side ; on the 1. are remains
of another dog.
Ht. 2\ in. Hollis Coll. Rude and worn ; legs restored.
1484. Harpocrates. He stands on 1. leg, with body bent over to his r., looking
to his r. ; in 1. hand is a cornucopia (the upper part broken off), and his r. hand
is raised towards his mouth. His hair is arranged in rich curls, with a plait
along the top of the head ; he wears a wreath and the crowns of the North and
South, and a chlamys is wrapped round 1. arm.
Ht. 4^ in. Blacas Coll., 1867. Fingers of right hand broken.
1485. Harpocrates. He stands on 1. leg, looking to his r., with r. hand raised
towards mouth ; in 1. hand is a cornucopia (the upper part broken off). His hair
is arranged in a plait on the top of his head, and he wears a wreath, behind
STATUETTES OF HARPOCRATES. 243
which are the crowns of the North and South resting on a crescent, and necklace
with bulla.
Ht. 5 in. 1S58. Fingers of right hand broken.
1486. Harpocrates (type of Eros). He stands on r. leg, looking to his 1., with
r. fore-finger placed on his mouth ; in 1. hand he holds a cornucopia. He is
winged, and has curly hair, with a broad plait along the top of the head, as Eros ;
he wears the crowns of the North and South, an ivy-wreath, and chlamys
twisted round 1. arm. A snake hangs from his 1. fore-arm, and at his r. side a
dog is seated.
Ht. 2| in. Blacas Coll., 1867. Left foot lost.
1487. Harpocrates (as Eros). He has stood on r. leg, looking to his 1., with r.
fore-finger placed on mouth ; in 1. hand a cornucopia, from under which issues
a snake coiled round a broken vine-stem. He is winged, and wears the crowns
of the North and South.
Ht. 1 1 in. Strangford Coll., 1864. Both feet lost ; coarse and much worn. At the back
is a ring for suspension as an amulet.
1488. Harpocrates. He stands on r. leg, looking to his 1., with r. hand raised to
mouth ; in 1. he has held a cornucopia, which is nearly all broken away ; it is
supported on a staff, round which is coiled a snake. He is winged, and wears
the crowns of the North and South ; he has curly hair, and a skin over the upper
part of his body. Over his r. shoulder hangs a quiver ; on his 1. side is a dog
seated, looking up at him, and on his r, a hawk.
Ht. if in. Hamilton Coll. 163. At the back, a ring for suspension.
1489. Harpocrates. He stands on r. leg, with r. hand raised to mouth, in 1. hand
a cornucopia ; his 1. elbow rests on a staff, round which is coiled a snake. He has
curly hair, and wears the crowns of the North and South, ivy-wreath with a
crescent in front, skin over 1. shoulder, and a necklace with bulla ; on the r. side
a dog, on the 1. a hawk, as last.
Ht. 1 1 in. Payne Knight Coll. Much worn.
1490. Harpocrates (as Eros). He stands on 1. leg, looking slightly to his r.,with
r. fore-finger on his mouth ; in 1. hand he holds a cormicopia, below which is a
snake coiled round a staff (the lower part broken off). He is winged, and his
hair is arranged in two rows of curls in front ; he wears the crowns of the North
and South, resting on a crescent, and a skin fastened on 1. shoulder ; over his r.
shoulder is a quiver suspended by a belt.
Ht. 1 1 in. Hollis Coll. (?). Both feet lost.
1491. Harpocrates (as Eros). He stands on 1. leg, looking down to his r., with
r. fore-finger raised towards his mouth ; he has curly hair and wings, and a
quiver is slung over r. shoulder. He wears the crowns of the North and South,
R 2
244 CATALOGUE OF BRONZES.
resting on a crescent, ivy-wreath, necklace with bulla, skin over 1. shoulder, and
chlamys round 1. arm ; in 1. hand he holds a cornucopia, round which a snake is
twisted, and in right hand he has held some cylindrical object.
Ht. 4| in. The surface has been tooled.
1492. Harpocrates. He stands on r. leg, with head inclined over 1. shoulder, and
r. hand raised to mouth ; he is winged, and wears the crowns of the North and
South, and a bulla round neck. Between r. arm and body is an object like a
flute ; in 1. hand is a cornucopia resting on a stem, round which is coiled a snake,
and another snake is coiled round both legs ; a quiver hangs over r. shoulder.
Ht. 1 1 in. Blacas Coll., 1S67. At the back, a ring for suspension as an amulet.
1493. Harpocrates (Egyptian type). He stands on r. leg, with r. hand raised to
mouth, and 1. arm hanging by his side ; he wears the crowns of the North and
South, and on the right side of the head is a tress of hair in the form of a loop
(the emblem of youth). The whole figure is treated in an Egyptian manner.
Ht. 3I- in. Left hand and foot lost ; much corroded and worn.
1494. Harpocrates (Egyptian type), or perhaps a member of the Roman imperial
family in the character of Harpocrates. He stands with r. fore-finger on his
mouth, holding up a club in 1. hand ; he wears a long loose garment reaching
to the feet. On the r. side of his head is a single lock of hair (the emblem of
youth) ; he wears the Egyptian head-dress known as the atef, resting on goat's
horns ; it is composed of three ostrich-feathers (the emblem of truth), flanked by
two uraei and surmounted by discs ; below this is the klaft, a head-covering
usually worn by Egyptian kings.
Ht. 3! in. Towneley Coll.
1495. Harpocrates (Egyptian type) He stands with 1. foot advanced and r.
hand raised towards his mouth ; in 1. hand is a cornucopia. He has short hair,
and wears a fillet and the crowns of the North and South, and a long loose
sleeved garment reaching to the feet. Perhaps a boy in the character of
Harpocrates.
Ht. 3 f in.
1496. Harpocrates (Egyptian type). The figure is treated in an Egyptian
manner, with both feet together ; his r. hand is raised to his mouth, and his 1.
arm hangs by his side. Face and head-dress indistinct.
Ht. 1^ in. Very coarse and much worn ; at the back, a ring for suspension as an amulet.
1497. Harpocrates (Egyptian type). The figure is treated in an Egyptian
manner, with both feet close together ; his r. hand is raised to his mouth, and 1.
hand by his side.
Ht. if in. Payne Knight Coll. Very rude and much worn. At the back, a ring for
suspension as an amulet.
STATUETTES OP HARPOCRATES. 2J5
1498. Harpocrates. As the last ; hair in thick curls.
Ht. I in. Payne Knight Coll. At the back, a ring for suspension.
1499. Harpocrates. As the last.
lit. 1 1 in. At the back, a ring for suspension.
1500. Harpocrates. He is seated with 1. leg drawn up and r. leg extended to his
r. ; his r. fore-finger is placed on his mouth, and in 1. hand he holds a cornucopia,
containing a bunch of grapes and three fruits, round which a snake is coiled.
He has richly-curling hair, and wears the crowns of the North and South, with
a crescent in front, ivy-wreath, and a necklace with bulla. On his r. knee is
perched the hawk sacred to him, representing the name liar (Horus) ; his 1.
elbow is supported by a Sphinx, on whose head is a disc.
Ht. 3i in. Presented by Pitt Lcthieullicr, Esq., 1756.
1501. Harpocrates. He is seated with both legs bent to the r., and r. fore-finger
placed on mouth ; in 1. hand he holds a cornucopia. His hair is arranged in a
plait along the top of the head, and he wears the crowns of the North and South
and an ivy-wreath.
Ht. 1 ^ in. Payne Knight Coll. io.
1502. Harpocrates. He is seated on a lotos-flower, looking down to his r , with
r. leg doubled up and 1. extended ; his r. fore-finger is placed on his mouth. On
the r. side of his head is a tress of hair in the shape of a horn (the emblem of
youth), and on the top of his head the solar disc ; he wears bracelets, and holds
a jar in 1. hand. The eyes are of an Egyptian type, the eyebrows raised.
Ht. 2\ in. 1851.
1503. Harpocrates. He is seated on a lotos-flower, looking to his r., with r. leg
drawn up and 1. extended ; his r. fore-finger is raised towards his mouth, and in
1. hand he holds a cornucopia, on which is the nraeus. His hair is arranged in a
top-knot, a plait along the top of the head, and a thick tress forming a loop on r.
side of head ; he wears the crowns of the North and South, and a himation over
1. shoulder, reaching to the feet.
Ht. 4§ in. Rather coarsely executed ; ho'e bored between the legs.
1504. Harpocrates. He is seated, with 1. hand placed on his chin, looking up to
his r. ; his body is inclined backwards, and in r. hand he holds a jar resting
horizontally on 1. thigh ; some liquid issues from this jar. He is nude and bare-
headed ; his r. leg is drawn up and 1. extended.
Ht. I in. Towneley Coll. Left leg wanting from below the knee.
1505. Harpocrates. He is seated on a diota, with legs drawn up ; he holds a jar
under 1. arm, into which he introduces his hand. He is of infantile appearance,
and bare-headed, except for a thick tress of hair forming a loop on r. side of
head (the emblem of youth) ; he has a large phallos, and the foot of the diota
246 CATALOGUE OF BRONZES.
suggests a phallic form. He appears to have worn the crowns of the North and
South.
Ht. if in. Tovvneley Coll.
1506. Boy in the character of Harpocrates. He stands with r. fore-finger touching
1. side of chin ; he is of infantile appearance, and his head is thinly covered with
hair, except at the back, where a plait projects ; he wears a large himation over
1. shoulder, in which his 1. arm is muffled.
Ht. 2| in. Ancient base.
1507. Boy in the character of Harpocrates. He stands with r. hand grasping chin,
and feet close together ; he is wrapped in a large himation passing over 1.
shoulder, in which 1. arm is muffled ; one end of the himation has a weight
attached, and falls nearly to the feet. There is no indication of hair on the head,
except behind the temples, and at the back a plait appears to project. The eyes
have been inlaid.
Ht. 2\ in.
1508. Harpocrates. He is seated, looking up to r., with r. hand raised and 1. by
his side, and legs crossed ; his hair is plaited in a long tail.
Ht. 1 1 in. From Maori, Lycia ; purchased at Aleppo, 1862. At the back is a handle.
M. ROMAN DEITIES (1509-1582).
1509. Somnus. He is represented as a winged infant, squatting with r. leg
doubled under him and 1. leg drawn up ; both hands on his 1. knee, supporting
his head, which is inclined forward as if in slumber.
Ht. 1 in. Towneley Coll. In the top of the head is a hole. The figure is of doubtful
antiquity.
(a) Agricultural (15 10-1523).
1510. Vertumnus. He is bearded and ithyphallic, and stands with feet close
together ; on his head is a radiated crown and a calathus, in front of which is
perhaps a female vulva, with an iron disk inserted in the centre. He wears
shoes, and a long girt chiton reaching to the ground behind, but held up with
both hands in front to form a lap, in which are grapes and other fruit.
Ht. 3f in. Towneley Coll. Left leg restored.
1511. Vertumnus. As the last, but on his head a sort of cowl with angular
projections.
Ht. 22 in.
STATUETTES OF VERTUMNUS, ETC. 247
1512. Vertumnus. He is beardless and ithyphallic, and stands with I. leg
advanced ; he wears boots, and a short chiton over the hips with short sleeves,
held up in both hands in front to form a lap, in which are various fruits.
Ht. 2| in. Hamilton Coll. 103. Very rude.
1513. Pomona. Her hair is waved, parted, and rolled over a fillet, and knotted
at the back ; she wears a long chiton with looped-up sleeves, leaving 1. shoulder
bare, and himation inflated by the wind, in the folds of which she holds a large
variety of fruit. She stands on tip-toe, with r. foot advanced, and wears sandals ;
the eyes have been inlaid.
Ht. I2| in. Found near Padua. Castellani, 1866 (Sale Cat. No. 340). Mansell, Brit.
Mus. Photographs, No. 876. Entire, and in fine condition ; a good specimen of Roman art.
1514. Autumn personified as a boy. He stands with legs apart, resting on r.
foot, looking down to his r. ; in r. hand he holds up a bunch of grapes. He has
short, smooth hair, and wears a fawn-skin (?) fastened on r. shoulder, and short
chiton, of which he lifts up a corner with 1. hand so as to form a fold, in which
are three fruits.
Ht. 2|- in. Castellani, 1873.
1515. Autumn personified as a boy. He kneels on r. knee, with 1. leg doubled
up, looking up to his 1., and extending r. hand as if to pick up something ; he
wears a chlamys over r. shoulder, and holds a cluster of pomegranates in 1. hand,
resting on 1. knee.
Ht. if in. Hamilton Coll. 153.
1516. Autumn personified as a winged boy. He stands on r. leg, with 1. foot
advanced, and has held out some object in r. hand ; between 1. arm and side he
carries a basket containing grapes and other fruit. His wings are spread, and
his hair falls in thick curls ; he has worn a fillet.
Ht. 2>l in- Castellani, 1865.
1517. Autumn, or a month, personified as a boy. He stands on r. foot, with 1.
slightly advanced, looking down to his 1. ; in r. hand he holds up a bunch of
grapes. His hair is tied in a top-knot in front, with a plait along the top, falling
in curls ; he wears a fawn-skin over r. shoulder and 1. fore-arm, gathered up in
1. hand, and containing in the folds a rabbit and fruit.
Ht. 2| in. Hamilton Coll.
1518. Autumn personified as a boy. He stands on r. leg, looking to his r. ; in r.
hand he holds a bunch of grapes up to his mouth, and in 1. he presses a bunch of
grapes and vine-leaves to his thigh ; he is nude, with smooth hair.
Ht. 2 5- in. Blacas Coll., 1867. Worn ; fine yellow patina.
248 CATALOGUE OF BRONZES.
1519. Autumn, or a month, personified as a boy. He stands on r. leg, squeezing
in both arms a large bunch of grapes ; his hair is curly, with a plait along the
top of the head, and he wears a himation over r. shoulder.
Ht. 2| in. Payne Knight Coll. (xi. 7). Rude and worn.
1520. Spring personified by a nude male figure running forward, with r. leg
extended behind and arms in front ; in r. hand he holds up a pruning-knife.
He is beardless, and has short, smooth hair.
Ht. 2f in. Rude work. Left leg restored.
1521. Winter personified as a youthful male figure. He has stood on 1. leg, with
r. heel raised, as if moving forward ; in 1. hand he holds a branch, on which are
leaves and berries (?). He wears a short girt chiton, over which is a birrus or
cucullus, drawn over the head as a hood and crossed over the chest ; on the r.
leg is a high boot reaching to the knee, laced up in front of the foot and formed
of straps up the leg, arranged in parallel zigzags. Over his forehead is a diadem,
on which are three jewelled medallions with stones set between them, and on the
edge of the hood are six projections, probably representing jewels ; the eyes
have been inlaid.
Ht. 6| in. Castellani, 1865. Left leg from knee and right hand lost. Very barbarous ;
not earlier than the fourth century of our era.
1522. Winter personified as a boy. He stoops forward, throwing the weight of
his body on 1. foot, in the attitude of a sower, looking to his 1. ; the r. hand was
extended in the act of sowing the seed, which was held in a sort of pocket formed
by the folds of the drapery over 1. arm. He wears the garment known as lacema,
which reaches nearly to the knees, and in which his 1. arm is muffled ; the hood
{cucullus) hangs between the shoulders.
Ht. 3J in. From Rome. Castellani, 1873. Right arm and both feet lost.
1523. Silvanus. He has curly hair and beard, and wears a large pine-wreath Plate
tied at the back, goat-skin fastened on r. shoulder, and high endromides, with XXX.
tops turned over, leaving the toes bare. In his 1. hand is a bough, and in r. he
has held some object ; in the folds of the goat-skin are a pine-cone and an
ivy-leaf.
Ht. 6£ in. Nocera, Campnnia, 1865.
1524. Bust in relief representing Africa personified. The back of the head is
covered with the skin of an elephant's head, the upturned trunk being seen over
the forehead, with a tusk on each side, and at the back large flapping ears. Her
hair is arranged in two rows of wavy tresses falling on each side of the neck ;
she wears a girt chiton with apoptygma, and a folded chlamys over 1. shoulder.
On her 1. side a lion of diminutive form is attached to the figure, with head to
the r. ; below her r. arm is an elephant's tusk.
Ht. 9 in. Hamilton Coll. 152. Cf. Michaelis, Ancient Marbles in Gt. Bri/ain, p. 222, and
coins of the kings of Mauretania. Trunk and right tusk of elephant broken. The bust is partly
hollowed out at the back ; on cither side and below arc holes for attachment to some object.
STATUETTES OF FORTUNE. 249
(b) Fortune (i 525-1 546).
1525. Fortune. She stands on 1. leg, holding the steering-oar in r. hand and
cornucopia in 1., containing grapes and other fruit, and surmounted by a crescent.
Her hair is rolled up all round, with a knot at the back, and a tress falling on
each shoulder ; she wears a sphendonc and modius, long chiton, with looped-up
sleeves, and himation over 1. shoulder. The eyes have been inlaid.
Ht. 3! in. Coarse and late work.
1526. Fortune. She stands on 1. leg, with steering-oar in r. hand and cornucopia
in 1. ; she turns slightly to r. Her hair is parted and rolled up round the head,
with a knot at the back ; she wears a crenellated stephanc, long girt sleeved
chiton, and himation over 1. shoulder.
Ht. 3 in. Payne Knight Coll. (xxxv. 2). The steering-oar is broken.
1527. Fortune. She stands on 1. leg, looking to her r. ; in r. hand she holds a
steering-oar, in 1. a cornucopia. Her hair is gathered in a knot at the back, and
she wears a stephanc ornamented with chevrons, long girt sleeved chiton, and
himation veiling her head, passing over 1. shoulder, and held up in her 1. hand.
Perhaps Faustina the Elder, or other empress, in the character of Fortune.
Ht. 3! in. Hamilton Coll. 114.
1528. Fortune. She stands on 1. leg, with head slightly inclined to her r., holding
a cornucopia in 1. hand ; she wears an anipyx, long girt sleeved chiton, and
himation veiling her head, passing over 1. shoulder, and falling in pteryges down
1. side.
Ht. 4g in. From Santa Maria di Capua. Bequeathed by Sir W. Temple, 1856. Right
hand lost.
1529. Fortune. She stands on 1. leg, looking to her r. ; in r. hand she holds a
steering-oar, in 1. a cornucopia (the end only remaining). Her hair is rolled up
all round the head, with a knot at the back, and she wears a long sleeved chiton,
and himation twisted round loins and over 1. arm.
Ht. \\ in. Towneley Coll. Very rude and much corroded.
1530. Fortune. She stands on 1. leg, looking to her r. ; in r. hand she holds a
steering-oar, in 1. a cornucopia. Her hair is rolled up all round, with a knot at
the back, and she wears a long chiton, with apoptygma, himation over shoulders,
and a stepliani: surmounted by a calathos.
Ht. 2| in. Very rude.
1531. Fortune. She stands on r. leg, holding a steering-oar in r. hand and
cornucopia in 1. ; she wears a modius, long chiton and himation.
lit. 1^ in. Very indistinct. At the back, a loop lor suspension as an amulet.
25O CATALOGUE OF BRONZES.
1532. Fortune. She stands on 1. leg, looking slightly to her r. ; she holds a
cornucopia in 1. hand, and in r. part of a steering-oar (now broken away). Her
hair is rolled up in a loop at the back, and falls in four tresses on the shoulders ;
she wears a sphendojie, long sleeved chiton and himation twisted round loins
and passing over shoulders,
Ht. \\ in. Payne Knight Coll. (xxxv. 4).
1533. Fortune. She stands on 1. leg, looking to her r. ; she has held a cornucopia
in 1. hand. Her hair is gathered in a knot at the back, and she wears spJiendone,
long sleeved chiton, and himation over 1. shoulder, falling over r. arm.
Ht. 3 in. Payne Knight Coll. (xxxv. 1). Right fore-arm lost.
1534. Fortune. She stands on r. leg, looking down to r. ; in 1. hand she holds a
cornucopia, and in r. she has held a steering-oar (now lost). Her hair is gathered
in a knot behind, and she wears an ampyx, modius, long sleeved chiton, and
himation fastened with a brooch on r. shoulder.
Ht. i\ in. Hamilton Coll. 22.
1535. Fortune. She stands on 1. leg, looking to her r. ; in r. hand she has held a
steering-oar (now lost), and in 1. a cornucopia (upper part broken off). Her hair
is gathered in a knot at the back, and falls in tresses on the shoulders ; she wears
a long sleeved chiton and himation over r. shoulder, and has had a modius on
her head.
Ht. 1% in. Hamilton Coll.
1536. Fortune. She stands on r. leg, looking to her r. ; she holds a cornucopia in
1. hand, and has held a steering-oar in r. Her hair is parted and gathered in a
thick plait hanging down behind ; she wears a spJiendone with incised patterns,
long girt chiton, with a fold drawn up over the girdle and apoptygma to waist,
and himation over back and shoulders. The dress and style of the hair recall
the Caryatides of the Erechtheum.
Ht. 3| in.
1537. Fortune (P). She stands on r. leg, holding a patera in r. hand, and a
cornucopia in 1. ; her hair is gathered into a plait behind, with a long tress falling
over each shoulder. She wears a spJiendone and modius, and long sleeved chiton,
with apoptygma falling in pteryges at the sides ; the dress and style of the hair,
as of the last, recall the Caryatides. The eyes have been inlaid.
Ht. 2 1 in. Hamilton Coll. 140. Right hand restored.
1538. Fortune. She stands on 1. leg, looking to her v., and has held a steering-oar
in r. hand ; in 1. is a cornucopia. Her hair is gathered back in wavy masses, and
rolled up in a knot at the back ; she wears a spJiendone with incised patterns,
modius, long sleeved girt chiton with apoptygma, and himation falling in double
folds in front, with balls attached to the corners.
lit. 4] in. Payne Knight Coll. (xxxv. 3).
FORTUNE. 251
1539. Fortune (?). She stands on 1. leg, looking to her r. ; in 1. hand she holds a
cornucopia, and in r. she holds out a. patera. Her hair is gathered in a knot at
the back, falling in curls on the neck ; she wears a modius and chiton, over
which is a himation or pep ios folded back like a diplois, passing over r. shoulder
and falling in pteryges down r. side.
Ht. 3! in. From Anzi, Basilicata. Bequeathed by Sir W. Temple, 1856. Patina; hair
very carefully rendered.
1540. Fortune. She stands on r. leg, looking to her r., with steering-oar in r.
hand ; on her head is a stephane surmounted by a disc, on each side of which is
an ostrich-plume, resting between a pair of wings. Her hair is parted and
gathered into a club at the back, with a tress falling over each shoulder; she
wears a long girt chiton, leaving the 1. breast bare, and himation over 1. arm and
round lower limbs, falling in pteryges on the 1. side. The chiton is fastened
on r. shoulder with a brooch.
Ht. 4j in. Castellani, 1873. Left arm broken off.
1541. Fortune. She stands on r. leg, looking slightly to r., holding a cornucopia
and club in 1. hand ; she wears a sphendone, long girt chiton, and himation over
lower limbs.
Ht. i| in. Right hand broken off. At the back is a loop for suspension.
1542. Fortune. She stands on r. leg, looking to her r., and holds a steering-oar
in r. hand, the handle fashioned in the form of a dolphin ending in a swan's
neck. She is winged, and her hair is gathered in a knot behind ; she wears
a sphendone and modius, long girt chiton, leaving 1. breast bare, and himation
over lower limbs, falling in pteryges on 1. side.
Ht. 4x in. Left arm restored. Green patina.
1543. Fortune. She stands on 1. foot, looking to her r. ; in r. hand she holds a
steering-oar with handle as preceding, and in 1. she has held a cornucopia, of which
only the end remains. She is winged, and her hair is gathered in a knot behind,
with a tress falling on 1. side of neck ; on her head is a stephane, surmounted by
a disc from which rise two plumes. She wears a long girt chiton, with apoptygiua,
and himation over 1. arm falling in rich folds ; at her back hangs a quiver.
Ht. 4f in. Towneley Coll.
1544. Symbol of Fortune. Left arm broken off just below the shoulder, holding
a steering-oar.
Length 5 in.
1545. Symbol of Fortune. Left hand holding a cornucopia, at the top of which
is a disc within a crescent formed by two palm-leaves.
Length 2?- in. Towneley Coll.
1546. Cornucopia.
Length i7s in. End broken off; three bunches of grapes visible.
252 CATALOGUE OF BRONZES.
1547. Spes. She stands on a rock, with 1. foot slightly advanced, looking down
to her r. ; in r. hand she has probably held out a flower, and with 1. she draws
aside her skirt. Her hair falls in a queue behind, with a long tress on the 1. side
ot the neck ; she wears a modius, long sleeved chiton, and himation fastened on
r. shoulder, with a fold on the breast like an apoptygma.
Ht. 2| in. Hamilton Coll. 229. Right hand lost ; rather worn.
(c) Victory (1548- 1561).
1548. Victory. She moves rapidly forward, with r. fcot advanced, bearing a
trophy, the lower end of which rests on her 1. hand, while the top is supported
by her r. arm ; it is composed of a Corinthian crested helmet and the front of a
cuirass attached to the trunk of a tree. Her hair is gathered in a knot behind,
and she wears a long girt chiton schistos with apoptygma, fastened on 1. shoulder,
and leaving the r. bare ; her drapery floats behind, and nearly all the right side
of the body is exposed.
Ht. 8|- in. Hamilton Coll. 2. The wings are broken off.
1549. Victory. She stands on a ball, with 1. leg bent, looking to her 1. ; her r.
hand hangs by her side, and her 1. is placed on her hip. Her hair is gathered in
a knot at the back, and she wears a long girt chiton and himation round lower
limbs.
Ht. 2g in. Payne Knight Coll.
1550. Victory. She stands on a globe and carries a trophy, the lower end of
which she supports with 1. hand, the top with r. arm raised over her head ; it is
composed of a conical helmet, with cheek-pieces and a cuirass with straps
attached, and is fastened to a stem of a palm-tree. Her wings are spread, and
her hair is waved ; she wears a long, flowing chiton with apoptygma. The
markings on the wings are carefully rendered ; the whole has a stiff and
quasi-archaic appearance, and is possibly of Etruscan workmanship.
Ht. 4I in. Blacas Coll., 1867. Back partly hollowed out ; has been attached as an
ornament ; green patina.
1551. Victory. She stands on a globe, with 1. foot advanced, holding a palm-
branch in 1. hand ; her hair is rolled up into a knot behind, and she wears a
spJiendonc and long girt chiton with apoptygma.
Ht. i\ in. Payne Knight Coll. (xcii. 3). Right arm and righl wing broken.
1552. Victory. She flies downwards, with r. foot advanced, holding out a wreath
in r. hand ; in 1. she has held a palm-branch. Her wings are spread, and her
hair is waved and gathered in a knot behind ; she wears a long girt chiton with
apoptygma, fastened on the shoulders and floating behind.
Ht. 7a in. Payne Kniyht Coll. (xcii. 2).
STATUETTES OF VICTORY. 253
1553. Victory. She stands with 1. foot slightly advanced, looking to her r. ; in r.
hand she holds out a wreath, and in 1. she has held a palm-branch. Her hair is
gathered in a knot at the nape of the neck, and she wears a wreath (?) over the
forehead, and a long loose chiton.
Ht. 4.I in. Hamilton Coll. 67. Very coarse style.
1554. Victory. She moves forward, with 1. foot advanced and the heels of both
feet off the ground ; in her hands she has held out a wreath and a palm-branch.
Her hair is parted and rolled up at the back, and she wears a long girt chiton
with apoptygma drawn up over the girdle ; her flying drapery indicates rapid
motion.
Ht. 3{ in. Payne Knight Coll. (xcii. 1). Hands and left foot and a large part of the
wings are broken off.
1555. Victory. She moves forward, with r. foot advanced and 1. heel raised ; she
has probably held a wreath in her extended r. hand, and a palm-branch in 1.,
which is clenched close to the body. Her wings are spread, and her hair gathered
in a knot behind ; she wears a sphendonc and long chiton with apptygma drawn
up over girdle.
Ht. 4i in. Hamilton Coll. Ancient base in the form of an altar. Both arms and nearly
all right wing restored.
1556. Victory. She lushes forward, with 1. foot advanced ; in r. hand she may
have held out a wreath, and in 1. a palm-branch. Her hair is gathered in a knot
at the back, and a tress from each side tied in a bow on the top of the head ;
she wears long chiton and apoptygma, which fly back to indicate the rapidity
of her movement.
Ht. yl in. Payne Knight Coll. fxxvi. 1). Wings broken off.
1557. Victory. She flies downwards, with wings spread and 1. leg advanced,
holding out a cornucopia in r. hand, supported at the top with 1. hand above her
head ; her hair is arranged in parallel waves and gathered in a knot behind, and
she wears a long flowing chiton schistos with apoptygma, leaving nearly all the
left side bare.
Ht. 5^ in. From Porto Traj.mo. Castellani, 1873. Mon. dell' Inst. viii. pi. 12, fig. 11 ;
Attn, detr Inst. 1864, p. 388.
1558. Victory, forming the head of a pin, standing on a globe ; she holds out a
large wreath in both hands. Her wings are spread, and her hair is tied in a
bow on the top of the head ; she wears a long chiton, which floats behind.
Ht. 2\ in. 189:. Traces of gilding ; Roman workmanship.
1559. Victory (?). She stands on r. leg, with wings spread ; she has held a palm-
branch in 1. hand and a wreath in extended r. Her hair is drawn back into a
knot at the back, and she wears an engrailed spJicudone, bracelet on r. wrist, armlet
254 CATALOGUE OF BRONZES
on 1. arm, double cross-band of beads fastened with brooches between the
breasts and on the back, and himation covering r. leg, and falling in pteryges
from 1. arm.
Ht. \\ in. Payne Knight Cull. (xcii. 6). Perhaps meant for Aphrodite ; see Bernoulli,
Aphrodite, p. 189.
1560. Bust of Victory. Head upraised ; hair waved each side and tied in a
bow on the top of the head, smooth at the back ; girt chiton fastened with
brooches on the shoulders ; wings visible behind.
Ht. 3! in. Payne Knight Coll.
1561. Upper Part of Victory, cut off at the waist in modern times. She looks
to her r. ; her 1. hand is raised above her head, having probablv held a cornucopia,
part of which still remains attached to the r. shoulder. She wears a chiton
fastened with brooches on the shoulders ; her hair is parted and waved, the front
part divided into two plaits tied in a bow on the top of the head, and the back
hair gathered in two tresses and rolled up on the neck. The eyes have been
inlaid.
Ht. 4j in. Payne Knight Coll. The right arm from above the elbow, and the wings and
part of the left hand are broken off.
{d) Lares (1562-1580).
[On the subject see Roscher, Lexikon, s.v.; Friederichs, Kleiner e Kunst n. Industrie,
p. 439 ; Preller, Rom. Afyt/wiS ii. p. 105 ff. ; Ann. delf Inst. 1862, p. 300 ff., and 1863, p. 121 ff.]
1562. Lar Familiaris. He is beardless, and stands on r. leg, holding a cornucopia
in 1. hand, and a patera in his extended r. ; his hair is arranged in thick clustering
curls all round the face, and he wears endromides, with tops of panther's skin,
short girt sleeved chiton, and himation over 1. shoulder, twisted round the waist
like a girdle, and falling in pteryges in front.
Ht. ~]\ in. Found near Albano. Hamilton Coll. Ancient base.
1563. Lar Familiaris. As the last ; his hair is smooth, and he wears a wreath
tied with a ribbon, the ends of which fall on his shoulders ; his himation is
looped up under the girdle in front and at the back, and falls in pteryges in front.
Ht. 4^ in. Payne Knight Coll. (xxxviii. 1). Patina.
1564. Lar Familiaris. As the last.
Ht. 4s in. Coarse style.
1565. Lar Familiaris. As before ; he stands on 1. leg, and has smooth hair
parted in the middle ; instead of the wreath a fillet, the ends of which fall on
the shoulders.
lit. 4^ in. The cornucopia in the left hand is lost.
STATUETTES OF LARES. 255
1566. Lar Familiaris. As before ; he stands on 1. leg, and holds a branch in 1.
hand, as well as the cornucopia.
Ht. \\ in. Blacas Coll., 1867. Left foot and part of patera broken off ; very rude.
1567. Lar Familiaris. As before ; his hair is arranged in clustering curls, and
he wears a fillet.
Ht. 4| in. Presented by General Meyrick, 1878. Patera and cornucopia lost ; feet
injured.
1568. Lar (type of Compitalis). He moves forward, with 1. foot advanced,
holding out a patera in r. hand, and a rhyton in 1. above his head ; he has curly-
hair, and wears a short girt chiton, endromides with vandyked tops, and a
wreath tied at the back with a ribbon, the ends of which fall on the shoulders.
Ht. 5 in. Towneley Coll.
1569. Lar (type as last). He stands on 1. leg, looking to his r. ; in r. hand he
holds out a pater 1, and in 1. hand he holds up a rhj ton terminating in an
animal's head. He wears a short girt sleeved chiton with apoptygma, himation
over 1. shoulder, twisted under the girdle, as in the other type, endromides, and a
wreath tied with a ribbon, the ends of which fall on the shoulders.
Ht. 4I in.
1570. Lar Compitalis, He moves forward on tip-toe, with 1. foot advanced,
holding patera and rhyton as before ; he has clustering curls, and wears a short
girt chiton which is blown back on each side, chlamys over 1. arm, endromides,
and a fillet.
Ht. 4| in. B!acas Coll., 1867.
1571. Lar Compitalis. He stands on r. leg, holding out a patera in r. hand ; 1.
hand with rhyton ending in ibex's head, modern. He has curly hair, and wears
a twisted fillet, short girt chiton with apoptygma blown back each side, and
sandals ; the pupils of the eyes are pierced. The chiton has been inlaid in
two borders of silver, representing the claims angustus.
Ht. 5! in. Payne Knight Coll. (xxxvii. 1).
1572. Lar Compitalis. He stands on tip-toe on r. foot, holding a patera in
extended r. hand, and a rhyton above his head in 1. ; inside the patera is a raised
rosette-pattern. His hair falls in straight locks, and he wears a fillet, short
sleeved chiton with apoptygma, himation twisted round the waist, and endromides
with tops turned over.
Ht. 7| in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Ancient
base. Right leg broken off below knee.
1573. Lar Compitalis. He stands with r. foot advanced, holding out a patera in
1. hand ; in r. hand he holds up a rhyton terminating in a dolphin's head. He
has curly hair and wears a short girt bordered chiton with apoptygma and
endromides ; his skirts are blown out on either side.
Ht. 4 in. Hamilton Coll. 282.
256 CATALOGUE OF BRONZES.
1574. Lar Compitalis. He moves forward, with r. foot advanced, holding out in
1. hand a. patera with incised patterns ; in the r. he holds up a rhyton terminating
in a dolphin, with cover in the form of an inverted flower. His hair is arranged
in clustering curls round the face, with a top-knot over the forehead ; he wears a
short girt sleeved chiton, gathered up over the girdle, chlamys over the arms,
and shoes fastened at the ankles. The chiton has been inlaid with two narrow
stripes from the edge of the skirt over the shoulders ; the pupils of the eyes are
pierced for inlaying.
Ht. 6] in. Right foot lost, and part of chlamys broken away.
1575. Lar Compitalis. He moves forward with 1. leg advanced, holding up a
cornucopia in r. hand, and in 1. a rhyton terminating in a dolphin ; his hair is tied
in a top-knot in front, and he wears shoes, short girt chiton with apoptygma, and
chlamys fastened round waist, the ends blown back each side.
Ht. 3j in. Hollis Coll. 25.
1576. Lar Compitalis. He moves forward, with 1. leg advanced, holding up a
rhyton in r. hand, and a patera in 1. hand, which is extended ; his hair is gathered
in a knot at the neck, and he wears a wreath, short girt chiton, with apoptygma
blown back each side, and endrouiides, with skin flaps.
Ht. 4jj in. From Rome. Castellani, 1873.
1577. Lar Compitalis. He stands with r. foot advanced, holding out in 1. hand a
patera with incised patterns ; in r. hand he holds up a rhyton with conical cover,
terminating in a dolphin. His hair is arranged in clustering curls round the face,
with top-knot over the forehead, and a plait along the top of the head ; he wears
shoes, short girt chiton with apoptygma, and chlamys tied round the waist, the
ends blown back each side.
Ht. 6 in. Towneley Coll. Clarac, Music de Sculpt, iv., jyo, 1916 A. Ancient base.
1578. Lar. He stands on r. foot, with hands extended ; in the 1. a small jar or
pyxis ; his hair is arranged in curls round the face, and he wears a garment
reaching to the knees and fastened round the waist.
Ht. \\ in. From Anzi. Bequeathed by Sir W. Temple, 1856. Very rude work.
1579. Upper Part of Lar. He looks down to r., and holds out a patera in r.
hand ; his 1. has held some object. His hair is tied in a top-knot, and falls in
straight masses ; round his waist and over 1. shoulder is a chlamys.
Ht. 3^ in. Ccntorbi, Sici'y, 1863 ; excavated by G. Dennis, Esq.
1580. Bust of Lar or Camillus, reaching to the waist. He looks to his 1. ; his
hair falls in a straight mass down the back, and he wears a loose chiton, with
girdle and cross-belt, fastened with a brooch on 1. shoulder ; a fillet is wound
round his head.
III. 5 in. Much corroded ; arms lost, and right side broken.
MISCELLANEOUS STATUETTES. 257
1581. Romulus and Remus suckled by the wolf. The wolf stands to 1., with head
turned round to her 1 ; on either side of her is one of the twins, kneeling on one
knee and approaching his head to her teats.
Ht. 1 in. Length i7s in. Hamilton Coll. Tail of wolf lost.
1582. Romulus and Remus suckled by the wolf; medallion with relief. The Plate XI.
wolf stands to r., looking round to 1. ; the twins crouch underneath, reaching up
to the teats with their hands.
Uiam. 2% in. Cf. Brit. Mas. Cat. of Vases, iv., G 125.
III. MISCELLANEOUS STATUETTES AND BUSTS (1583-1728).
1583. Roman Orator. He stands on 1. leg, with r. arm hanging down, the fingers
bent, as if having held some object ; the 1. hand is extended palm upwards, with
the third and little fingers bent, an ordinary oratorical gesture. He is beardless,
and wears a sleeved tunic, over which is a toga, part thrown over 1. shoulder and
tucked in under the girdle in front, forming a loop, the other part carried round
the back and over 1. arm. On his feet are boots of the kind known as calceus
seuatorius, attached to the leg by cross-straps reaching up to the ankle ; the
pupils of the eyes are incised.
Ht. 6| in. Payne Knight Coll. Ancient base ; left foot and left fore-arm restored ;
much corroded.
1584. Man sacrificing. He stands on 1. leg, holding out a fruit in r. hand ; in 1.
he has held a patera. He is beardless, and wears shoes with an upper leather
covering all but the toes, short sleeved tunic, and toga arranged in the fashion
known as ductus Gabiuus ; one part is drawn over the head, and falls in front to
the waist, where it is looped up and tucked up under a transverse fold twisted
round the waist, while the other part is thrown over the 1. arm. On the r. shoulder
has been inlaid a narrow stripe (the clavus angustus) ; the hair is slightly waved.
Ht. Si »n- Encycl. Brit.9 vi. p. 456 ; Smith, Diet. Antiqs? i. p. 256 (described as augur
wearing trabea). Left hand broken off.
1585. Roman Official, perhaps in the act of sacrificing. He stands on 1. leg,
looking to his 1. ; his r. hand has held out a patera, and in 1. he holds a sort of
wand curved at one end, perhaps part of a lituus. He is beardless, and his hair
falls straight over the forehead ; he wears shoes, sleeved tunic, and toga arranged
in the cinctus Gabiuus, as No. 1584.
Ht. 4| in. Hollowed out at the back.
1586. Roman Official. As the last ; he looks down to the r., and holds in 1. hand
a long bundle of rods (fasces 1), tied in the middle and at the upper end, which
is curved and rests against the shoulder ; his r. hand is extended with open
palm. The pupils of the eyes are incised.
Ht. 4- in. Hamilton Coll. Nose and fingers of right hand broken. A Satyric mask is
affixed to the base.
S
258 CATALOGUE OF BRONZES.
1587. Roman Official (?). He stands on 1. leg, with r. hand extended, holding
in 1. part of a staff which is nearly all broken away ; he wears long chiton and
toga arranged in the ductus Gabinus, covering his head ; his hair falls straight
over his forehead ; the lower end of the toga is weighted.
Ht. \\ in.
1588. Priestess (?). She stands on 1. leg, holding out a fruit (?) in r. hand, and in
1. a small box containing fruit ; she wears a long sleeved chiton, large himation
veiling her head and falling in pteryges from the 1. shoulder, and boots.
Ht. 6] in., with ancient base, 7| in. From Torre Annunziata. Bequeathed by Sir W.
Temple, 1856.
1589. Priestess. She stands on r. leg, with r. hand raised, holding in 1. hand a small
cista with open lid ; she wears an ampyx, long chiton, and himation over 1.
shoulder veiling her head.
Ht. 5} in. Pulsky Coll., 186S {Cat. 87). On the head a ring, in which a larger ring is
fixed.
1590. Priestess. She stands on r. leg, holding out 3. patera in r. hand ; her 1. hand
is held up, and her head is rather on one side. Her hair falls in a queue down
the back, and she wears a spheudone, long chiton, himation over 1. shoulder, and
shoes.
Ht. 4| in.
1591. Priestess (?). She stands on r. leg, and looks up, with hands extended ; in
the r. a patera ; he»- hair is drawn back into a knot at the neck, and she wears
long girt chiton and himation over 1. arm.
Ht. 4^ in.
1592. Priestess. She stands on r. foot, holding out in r. hand a patera with
omphalos, and in 1. a small pyxis (?) ; her hair is gathered in a knot at the neck,
with tresses falling on the shoulders, and she wears a long girt chiton with
looped-np sleeves, himation over 1. arm, and shoes.
Ht. 8^ in. Towneley Coll. Ancient base.
1593. Priestess. She stands on r. foot, looking slightly to her r., and holds out a
patera in r. hand, and in 1. an open box containing objects ; she wears a long
chiton, and himation wrapped round her, covering the head.
Ht. 2', in. Bequeathed by Sir W. Temple, 1856. Right foot lost.
1594. Priestess (?). She stands on r. foot, with 1. hand raised, holding out in r.
hand apafera ; she wears a long chiton, himation over 1. shoulder, veiling her
head, and shoes.
Ht. 2 1 in. Presented by General Meyrick, 1878. Flat and rude.
MISCELLANEOUS STATUETTES.
2 59
1595. Man seated, with arms extended, as if driving a
chariot He is beardless, with flowing curls, and wears
a Phrygian cap and chlamys over shoulders, fastened
in front with a modern brooch.
1596.
1597,
Ht. 4i in. Left hand modern.
Man in Phrygian attire, perhaps Paris. He
stands with 1. leg crossed over r., looking down to his
r. ; in r. hand he holds a dagger (?), in 1. a ram's head.
He is beardless, and his hair is arranged in two rows
of curls ; he wears a kidaris with flaps, short girt chiton
with apoptygma, chlamys fastened with a brooch in
front, sleeved under-garment:, anaxyrides, and shoes.
Ht. 4 in. Payne Knight Coll. (x. 1) ; obtainedlby him from
Towneley.
Man, in Phrygian or Persian attire. He stands
on 1. leg, looking down to his r. ; his r. hand is advanced,
pointing with the fore-finger, and 1. held out horizon- Fig. 26 = No. t535.
tally, clenched. He is beardless, and wears a kidaris
with flaps, on which parallel horizontal lines are incised to indicate folds ; short
girt chiton, chlamys fastened on r. shoulder, and a garment fastened by a knot
on the breast ; under-garment with long sleeves, drapery twisted round his loins,
and anaxyrides.
Ht. 3£ in. Blacas Coll., 1867. Both feet broken off:
probably for attachment to some object.
at the back is an irregular sinking,
1598. Phrygian Woman. She kneels on 1. knee to r., looking round to 1.,
with r. arm extended ; she has held some cylindrical object in 1. hand. She
wears a kidaris with flaps, studded with small holes, chlamys round 1. arm, and
long girt chiton with long sleeves, which are ornamented with diaper pattern.
On her r. wrist is a bracelet ; her hair falls in thick, wavy masses.
Ht. 2| in. Towneley Coll. Fingers of right hand broken. Perhaps intended to
represent Hecuba.
1599. Phrygian Prisoner. He is seated, with hands tied behind him and feet
crossed ; he is beardless, and wears a Phrygian cap covering the neck, jerkin
girt at the waist, anaxyrides, and shoes.
Ht. 2 in. Hamilton Coll. 117.
1600. Prisoner. He squats with r. leg doubled under the 1., which is drawn up ;
he is beardless, and has closely-curling hair ; his hands are tied behind him, and
he looks up with an expression of pain.
Ht. 1 \ in.
S 2
260 CATALOGUE OF BRONZES.
1601. Gladiator (?). He advances 1. leg, and his r. hand is raised, and I. placed on
thigh ; he is beardless, and wears a conical cap with a knob on the top, and
loin-cloth fastened round the waist.
Ht. 3 in. Hollis Coll. 24.
1602. Gladiator. He moves to 1., with 1. foot advanced, in r. hand a short curved
sword, in 1. a small octagonal shield ; he wears a large crested helmet, with a
perforated visor over the face, short girt tunic, and greaves.
Ht. 3 J in. Hamilton Coll. 4.
1603. Gladiator. He stands with 1. foot raised and r. leg bent, looking upwards ;
his 1. hand is extended, and in r. he has held up a sword (?) ; he is beardless,
and wears a conical cap with knob, and loin-cloth.
Ht. 2§ in. From S. Maria di Capua. Bequeathed by Sir W. Temple, 1856.
1604. Gladiator. He advances to 1., with 1. foot drawn back, on 1. arm a rect-
angular curved shield (scutum) ; he wears a crested helmet, with side-crests and
perforated visor, short chiton to hips, with broad belt, and greaves.
Ht. 2\ in. Payne Knight Coll. At the back, a funnel-shaped support.
1605. Gladiator. He has long hair, brushed back and falling down his back, and
wears a loin-cloth twisted round his waist ; on his 1. arm is a sheath, as worn by
a gladiator on a mosaic published in Baumeister, Denkmaler, iii. pi. xci. ; see
also Nos. 2864-2866. In r. hand he carries a trident, the prongs of which are
broken off, and in 1. a short dagger (?).
Ht. i\ in. Castellani, 1873. Legs from knees lost ; very rude. For representations of
gladiators in art, and details of costume and armour, see Daremberg and Saglio, Diet, des
Antiqs. s.v., and Baumeister, Denkmaler, hi. {s.v. Wettkampfe) ; compare also No. 2966.
1606. Warrior, in low relief. He is turned to the front, with 1. leg bent as if
moving to r. ; he has a formal beard, arranged in rows of neat curls, fillet with
chevron-pattern incised, helmet (?), chlamys fastened with a brooch in front, and
greaves ; in r. hand he holds a dagger.
Ht. 3] in. Rather barbaric in type. On the head is a support for some object.
1607. Warrior. He stands with r. leg slightly advanced ; he is beardless, with
crested helmet, and shield on r. arm, and has held some object in 1. hand.
Ht. 4I in.
1608. Warrior. He stands with 1. foot drawn back, holding out a patera in r.
hand ; his 1. has been extended. He is beardless, and wears a crested helmet,
cuirass, and short chiton.
Ht. 5 in. Left arm lost. Ancient base.
MISCELLANEOUS STATUETTES. 26 1
1609. Warrior advancing. He stands on 1. foot ; his 1. hand has been extended,
and in r. he has held up a spear ; he wears a high-crested helmet, with cheek-
pieces, short thick chiton, and greaves.
Ht. 3} in. Left hand lost.
1610. Warrior. His r. hand is held out, and 1. hand placed on hip ; the latter has
held a sword. He wears a cuirass, with sword-belt and sheath, thick gloves (?),
drawers (?), and high boots.
Ht. 3!- in. From Ak K01, near Miletus. Presented by C. T. Newton, Esq., 1866. Head
lost. Rather rough work.
1611. Warrior in Roman armour. He is bearded, and wears a helmet, with frontal
ridge and small crest, strapped under the chin, short chiton falling in fringed
flaps, plated cuirass with shoulder-pieces, bracae reaching to the knees, and
sandals. The eyes have been inlaid ; the hands are clenched.
Ht. 4| in. Castellani, 1867. Mansell, Brit. Mus. Photographs, No. 877, fig. 3.
1612. Warrior. He stands with 1. foot slightly advanced ; he is beardless, with
crested helmet with peak in front, sword in r. hand (broken), and octagonal
shield on 1. arm.
Ht. $h in.
1613. Trophy, made up in the form of an armed warrior, consisting of a helmet
with cheek-pieces, short chiton, cuirass with row of flaps round edge, sword
suspended by belt over r. shoulder, and greaves ; a cross-piece supports the
arms.
Ht. 2} in.
1614. Head of Warrior, broken off from a bust or statue. He is beardless, with
plain close-fitting helmet (Karalrv^) strapped under the chin ; eyes hollow ; lips
inserted separately.
Ht. 8 in. Payne Knight Coll. (xxvii. 1) ; sent from Rome in 1785. Spec. Ant. Sculpt, i.
pis. 20, 21. Good patina. Payne Knight calls this Diomede (see //. x. 257) ; cf. Ant. di
Ercolano, v. 75.
1615!- Head of Warrior (P), wearing a close cap, with loops over the ears and
strings tied under the chin, the hair in formal curls over the forehead.
Ht. 2§ in. Presented by General Meyrick, 1878. The eyes have been inlaid.
16152. Head of Warrior, beardless, wearing close helmet tied under the chin, as
No. 1614.
Ht. 2>l m- Ring on top of head.
16153. Head of Emperor or Warrior, beardless, with curly hair, wearing cuirass
with a quatrefoil in front ; ring on top.
Ht. 4 in. Towne'ey Coll. Surface suspicious.
262 CATALOGUE OF BRONZES.
16154. Head of Warrior, beardless, with thick hair over forehead ; close-fitting
helmet, fastened under the chin (cf. No. 1614) ; pupils of eyes hollow ; ring
on top.
Ht. 3£ in.
16155. Head of Emperor, beardless, wearing cuirass and shirt of mail ; eyes of
silver.
Ht. 4j in. Good patina ; hair well executed. Ring on top of head, with modern chain.
1616. Armed Horseman. He wears a visored helmet and cuirass, and has held
the reins in 1. hand, and a goad (?) in r. ; there are remains of some object on his
knee. The horse moves forward.
Ht. 3! in. Hertz Coll., 1859 {Cat. 574). Much corroded; rude work. The crest of the
man's helmet is broken off.
1617. Man with Horse (P). He wears afii/eus, s'lort chiton, with a thick girdle
of four folds wrapped round the waist, and bracae ; he holds something under his
1. arm, and his r. is laid on the neck of the animal, which springs forward ; under
the fore-part of its body is a support.
Ht. 2\ in. Fore-legs of animal lost. Ancient base.
1618. Equestrian figure, perhaps Alexander the Great (?). He is seated astride Plate
his horse, and has held the bridle in both hands : he looks to his r., and is XXVI.
beardless, with curly hair, cuirass, short chiton, and chlamys over shoulders.
Ht. 2 in.
1619. Charioteer. He stands with legs wide apart, and is beardless, with
straight hair and fillet, and loin-cloth ; in 1. hand he has held up the reins, and
in r. a goad.
Ht. \\ in. Feet and left hand lost.
1620. Charioteer. He stands with feet apart, r. leg slightly bent ; his r. hand is
raised and has held a goad ; in the 1. he has held the reins ; he is beardless, and
has short, smooth hair, with a fillet.
Ht. \\ in. Blacas Coll., 1867.
1621. Athlete wearing caestus. He stands on r. foot, and has held some object in
both hands ; he is beardless, and has short, clustering locks ; on cither hand is
the cars t us, reaching above the elbow. Perhaps a copy of some statue of the
Lysippian school.
lit. 5! in. Blacas Coll., 1867. Corroded. At the back, a projecting piece of bronze for
attachment.
1622. Athlete. He stands on r. foot, with r. hand extended, looking to r. ; he has
straight hair, and wears a fillet ; his 1. hand is spread out, and in r. he has held a
spear or other object.
Ht. 7 in. On the base is fixed a Satyr ic mask, with beard arranged in formal curls.
MISCELLANEOUS STATUETTES. 263
1623. Head of Athlete, with hair coiled at the back of the neck (cf. Cat. of Vases,
iii. E 67, 69), perhaps a copy of a fifth-century Greek head ; has formed the
balance-weight of a steelyard.
Ht. 2| in. Patina ; roughly executed. Hole on right side of face ; no ring on top.
1624. Acrobat {circulator). He is standing on his hands with legs in the air
behind ; he wears a conical cap and drawrers.
Ht. 2 1 in. Right arm broken. Cf. Mus. Marbles, x. 27, for a similar figure on a
crocodile.
1625. Acrobat. He stands with legs close together and head thrown right back ;
he wears a leather cap stamped with rings, fastened under the chin, and an
embroidered loin-cloth fastened round his waist.
Ht. 3^ in. Presented by General Meyrick, 1S78. Arms broken.
1626. Comic Actor. He is seated on an altar, round which are festoons ; his r.
hand is raised to his chin and supported on 1. elbow. He wears a mask, with
open mouth and snub nose, and his hair is thick and like a wig ; he has a short
girt tunic, chlamys over 1. shoulder, and socci.
Ht. 4| in. 1878.
1627. Comic Actor. Attired as the last ; arms folded and legs crossed ; his seat
is lost.
Ht. 2 J in. From Tralles. Burgon Coll., 1842. Pottier and Reinach, Necropole de
Myrina, p. 471, note 6.
1628. Comic Actor. He extends his arms, counting his fingers ; on his head is
a sort of cap folded double, and he wears socci, a short tunic, chlamys over
shoulders, and a mask with open mouth.
Ht. 4.5 in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Ann. dell'
Inst. 1853, pis. A, B, fig. 3, p. 33.
1629. Comic Actor. He stands with r. leg crossed over the 1., head leaning over
r. shoulder and supported by r. hand ; his r. elbow rests on his 1. hand. He
wears a mask with open mouth, and wig rising to a point in front, hanging over
r. shoulder, with hair arranged in formal ridges ; sleeved jerkin and anaxyrides,
himation over 1. shoulder, wrapped round 1. arm and twisted round waist,
and socci.
Ht. 2 \ in. Hamilton Coll. 115. Drapery perforated on each side of hips.
1630. Comic Actor. He stands with feet close together and r. hand raised, the
fore-finger pointed upwards, as if declaiming ; he has short straight hair, and
wears a mask with open mouth, girt jerkin and anaxyrides, socci, and himation
over 1. shoulder, in which 1. arm is muffled.
Ht. 2| in. 1878. Small ancient base.
264 CATALOGUE OF BRONZES.
1631. Comic Actor. He moves forward to his 1., with 1. foot advanced, r. arm
bent and 1. extended ; in I. hand he holds the end of a strap which passes
behind over 1. shoulder to r. hip. He wears a mask with open mouth and conical
cap, short girt jerkin, and shoes.
Hi. 2| in. Hamilton Coll. 113. Left leg repaired ; very rude.
1632. Comic Actor. He stands on r. leg, looking to his r., with r. hand raised to
mouth and expanded outwards ; 1. hand extended in front of hip, as if gesticu-
lating. He is beardless, and has short hair, and no mask, but a himation over 1.
shoulder.
Ht. 4 in. Payne Knight Coll. (lxxvii. 2). Very late and rude in style ; probably of the
fourth century of our era.
1633. Comic Actor. He is seated on an altar, with r. foot crossed over 1. ; his r.
elbow is supported by his 1. hand, and the r. hand raised to his mouth, in which
the fore-finger is inserted ; he looks up to his r. He wears a mask with open
mouth, conical cap, girt jerkin reaching to knees, anaxyrides, socci, and a small
himation folded on 1. shoulder.
Ht. 2f in. From Megalo Castro, Crete. Presented by A. W. Franks, Esq., 1879. Pottier
and Reinach, Necropole de Myrina, p. 471, note 6.
1634. Comic Actor seated on altar, perhaps as a slave taking refuge from an
angry master. His hands are clasped or tied behind his back, and he turns to
his 1., as if addressing someone ; he is bald over the forehead, and wears a mask
and wig, and short leather jerkin. On the altar a branch is incised.
Ht. 1^ in. Payne Knight Coll. (lxxvii. 4). CC Wieseler, Theatergebiiude, p\ 12, fig. 7 ;
Ficoroni, De Larvis Scenicis, pi. 27, 3. Feet broken ; on 1. shoulder three holes pierced.
1635. Comic Actor. He stands with r. leg slightly advanced and r. arm extended,
1. arm by his side ; he wears a mask with open mouth, and wig, jerkin with short
sleeves, anaxyrides, and socci, and chlamys over shoulders enveloping 1. arm.
Ht. 5 in. Payne Knight Coll. (lxxvii. 10). Rude work ; has served as a handle for some
object. Right hand lost.
1636. Comic Actor, probably as Seilenos. He stands on r. leg with both hands
held out ; fingers of r. hand closed except fore-finger ; those of 1. hand clenched.
He is bald, with a long beard, and wears jerkin and anaxyrides of rough skin, a
small himation twisted round waist and over 1. arm, and socci.
Ht. 3i in. Payne Knight Coll. (lxxvii. 3). Cf. Wieseler, Theatergebiiude, pi. 12, fig. 10,
p. 92. In the head is fixed a tapering spike ; ancient base.
1637. Comic Actor as Seilenos. He stands with feet together, looking slightly to
his r. ; his arms are clasped over the chest. He is nearly bald and has pointed
ears and a long beard ; he wears an ivy-wreath and is wrapped in a large himation
or paenula.
Ht. 3! in. Payne Knight Coll. (lxxx. 4). Vaux, Handbook to Brit. Mtts. p. 434. The
eyes are pierced for inlaying.
MISCELLANEOUS STATUETTES. 265
1638. Two Comic Actors as Seilenos, cut off at the hips. As the last figure.
Ht. 2\ and 2 in. Hamilton Coll. 187. In the head is fixed a tapering spike.
1639. Actor in the Satyric drama, dancing. He rests on 1. foot, the r. raised with
heel lowered as if to mark time by stamping ; his r. arm is bent, the hand open
and turned to the front with fingers slightly bent, and the 1. hand is held out
with palm upturned. He looks up to his r., and has lank, wavy hair and a long
pointed beard {a^voiroaywv) ; the pupils of the eyes are incised, and the outer
corners are curiously elevated. He wears a stephane like a woman, incised with
palmettes, close leather jerkin reaching to the hips, with pliallos attached,
under garment (subucula) with long sleeves, anaxy rides, and buskins with tops
turned over.
Ht. 6 in. Campanari, 1849. ln ^ne condition ; in the head is a hole for an ornament.
1640. Male Figure with movable head, mounted on a hinge at the back. He is
youthful and beardless, and stands with r. foot slightly drawn back and r. hand
raised ; with 1. he holds some object to his breast. He has thick straight hair,
and wears a sort of short chiton looped up each side, and loose bracae ; the eyes
are hollow.
Ht. %\ in. Borrell Coll., 1852. Perhaps represents an actor in Xh&fabulae Atellanae.
1641. Male Tragic Mask, bearded. The brows are knit, and the pupils of the
eyes hollow ; over the brows is the oy/co$, rising in a high curved ridge, covered
with wavy lines of hair growing upwards. Two formal curls hang on either side
of the face ; the moustache is long and curled at the ends, and the beard is
arranged in thick tufted curls ; the mouth is open.
Ht. 1 1 in.
1642. Male Tragic Mask, as last.
Ht. if in. Rather worn.
1643. Male Tragic Mask, as before.
Ht. 1 j in. Payne Knight Coll.
1644. Female Tragic Mask. The mouth is open, and the brow contracted ; over
the forehead is a row of formal curls, and on each side of the face triple ringlets
formally arranged. Above is the 07/C09, on which a number of raised ridges
converge to a common centre at the apex. Below the chin is a double spiral.
Ht. 4^ in. From Italy. Comarmond Coll., 185 1.
1645. Female Tragic Mask. The mouth is open, and the hair of the eyebrows
indicated ; their inner corners are slightly raised. The 6'7/co? is shaped like a
reflex bow, ornamented with raised ridges converging to the centre ; the hair is
arranged in curls over the forehead, and a triple row of formal ringlets each side
of the face, below which is a shorter row of triple ringlets falling on each side of
the neck. Below the chin is a palmette.
Ht. 3 in. Blacas Coll., 1867.
2 66 CATALOGUE OF BRONZES.
1646. Female Tragic Mask. Over the forehead is the oy/co? with parallel rows
of ringlets ; the mouth is closed, and the pupils of the eyes left hollow.
Ht. ii in. Halicarnassos, 1859.
1647. Female Tragic Mask. The mouth is wide open and the brows contracted ;
above the forehead is an ivy-wreath, round which a sash is twisted, hanging
down on either side ; below, two parallel formal curls each side ; behind the
wreath the hair rises in a ridge.
Ht. if in. Good patina.
1648. Female Tragic Mask. The mouth is open ; over the forehead, the oy/co*?
and an ivy-wreath tied with a sash ; on the r. side is a spiral tress.
Ht. if in. Good patina. Tress on left side broken away ; on left cheek an oblong
sinking, where a flaw in the metal has been cut out.
1649. Female Tragic Mask. The mouth is open ; over the forehead is a fillet,
round which is twisted a sash to which an ivy-wreath is attached ; the ends of
the sash are knotted together on the top of the head, and terminate in clusters
of ivy-berries ; over the forehead are larger clusters of ivy-berries attached with
the loop formed by the ends of the sash ; on either side of the head are ivy-leaves
attached to the wreath.
Ht. 2 in. Payne Knight Coll.
1850. Female Mask. The mouth is closed ; the hair is partially covered with a
coif, the ends of which are knotted together over the forehead. At the back of
the head the hair is gathered in a top-knot, and on either side of the face are
three short parallel tresses.
Ht. il in. From Leucas, Acarnania, 1846. Hollow at back.
1651. Female Tragic Mask. The mouth is open ; over the forehead is a twisted
fillet with ends hanging either side ; above it are two small horns (?), and on
either side of the face two curls of hair.
Ht. 1} in.
1652. Female (P) Mask. The face is beardless, the brows contracted and lips
parted ; the nose is slightly aquiline, and the expression strongly marked. A
double twisted fillet passes over the forehead, the ends being looped under it
and hanging down on each side ; the hair is thick and hangs in long tresses on
the neck.
Ht. 2 in. Payne Knight Coll. Good patina.
1653. Comic Mask, forming a spout. The large open mouth forms the spout ; a
mass of false hair, rising in a ridge over the forehead, is drawn back and
terminates in shaggy locks ; this is probably the cnrelpa rpi-^Mu noted by Pollux
(iv. 149) as characteristic of one variety of the comic mask.
Ht. 1] in. Length 2jj in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856.
MISCELLANEOUS STATUETTES. 267
1654. Comic Mask, forming- a spout. Over the forehead the hair rises in a ridge,
with a single wavy lock on each cheek ; large mouth ; pupils of eyes incised.
Ht. 2\ in. Towneley Coll. On either side, a hole pierced for a rivet.
1655. Comic Mask. Open mouth and shaggy eyebrows ; over the forehead the
artificial hair rises in a ridge.
Ht. 1 £ in.
1656. Mask of Comic Old Man or Slave. Large open mouth and shaggy eye-
brows ; over the forehead the artificial hair rises in a ridge, falling on either side
of the cheeks in three parallel ringlets.
Ht. i{ in.
1657. Two Satyric or Comic Masks, forming spouts. Large open mouths ;
over the centre of the forehead the artificial hair is brought forward to a point,
and three parallel thick curls are attached on cither side of the face. One looks
more downwards than the other.
Ht. 1-2- and i| in. Blacas Coll., 1867.
1658. Satyric Mask. The head is bald, and under the chin is a fringe of hair (?) ;
on either side are goat's ears pointing downwards. Inside the wide mouth of
the mask the natural mouth is shown.
Ht. 1 1 in. Payne Knight Coll.
1659. Satyric Mask. The features are those of a Satyr ; the ears are pointed,
the eyebrows overhanging, and the mouth open ; the pupils of the eyes incised.
The beard falls in long rich curls on the breast ; over the forehead is an upright
fringe of hair curled at the ends and rising like a plume in the middle.
Ht. 2 1 in. A piece of the left side broken away ; behind the left ear, a hole for attach-
ment.
1660. Tragic Mask, with ojkos, in relief.
Ht. 1 1 in. From Corfu. Woodhouse Coll., 1868.
1661. Tragic Mask, forming the end of a handle.
Ht. 2| in. Blacas Coll., 1867.
1662. Two Tragic Masks with oy*-ov ; have been attached to some object.
Ht. of each i\ in. One is of coarser work than the other.
1663. Dwarf. He sits huddled up on the top of a conical mound, with hands on
knees and chin resting on his hands ; he has thick curly hair, a pointed chin, and
fiat forehead, and wears a loin-cloth. From his back springs a curved projection
(broken off). Issuing from the front of the mound is the fore-part of a long-
eared animal like a rabbit.
Ht. 2§ in. An exact replica in the Ashmolean Museum, Oxford (Fortnum Coll.).
268 CATALOGUE OF BRONZES.
1664. Grotesque figure running, in a distorted attitude, with r. leg advanced
and 1. foot raised behind ; head thrown back over r. shoulder with an expression
of pain ; hands raised, palms outwards. The head is shaved except for a tuft of
hair on the crown ; the proportions are very thin and attenuated, the anatomy-
being very strongly marked. The figure wears a short beard, and the forehead
is very flat and receding.
Ht. 4J in. Payne Knight Coll. (xxxi. 6). Left leg and both hands restored.
1665. Vase in the form of a Dwarf. He stands with r. leg advanced, r. arm
bent, and 1. extended ; he wears a short beard and is nude ; coarse features.
Ht. 4| in. Payne Knight Coll. Legs from knees lost ; much corroded. The head is
worked smooth. The vase has a trefoil mouth.
1666. Dwarf. He sits huddled up, with legs drawn up, r. hand on knee, and 1. on
the side of the head, which is inclined to his 1. ; he is hump-backed, and wears
a garment twisted round his waist ; his hair is treated in a lumpy manner.
Ht. 2| in. Payne Knight Coll. (xxxi. 7). Ancient triangular base.
1667. Grotesque figure, seated on ground with legs crossed and drawn up, and
his hands placed on his knees ; he looks up to his 1. ; his hair is formally treated
in rows of close curls.
Ht. 1 J in. Castellani, 1873. Good patina ; hole through neck.
1668. Grotesque male figure in sitting posture, with hands on thighs ; he is
beardless, with rough hair, and wears a short garment reaching to the hips, with
a hood attached, which is thrown back ; he has held some object in both hands.
Ht. 3f in.
1669. Grotesque male figure, very diminutive, in the form of a knuckle-bone ;
he squats on his haunches, with hands raised ; he is bearded, and wears a skull-
cap and a fillet knotted on the forehead.
Ht. 1 j in. From Egypt. Presented by W. M. Flinders Petrie, Esq., 1891. Corroded.
1670. Grotesque figure, similar, but beardless ; no cap or fillet.
Ht. 1 in. Hamilton Coll. 179.
1671. Head of grotesque figure. He looks upwards ; he has large ears and
receding forehead, and is bald except for one thick lock of hair.
Ht. I in.
1672. Grotesque bust. The figure has a hooked nose, large ears, receding fore-
head, sunken eyes and pointed chin ; the top of the head is flat.
Ht. 1 1 in.
1673. Grotesque figure, seated. He has protruding eyes and puffed-out cheeks,
and his legs are crossed ; he is nude and beardless, and wears a cap ; in both
hands he holds a. pinna or conch-shell, which he is blowing.
Ht. 3 in. 1868. Very rude style ; good patina. The seat is lost.
MISCELLANEOUS STATUETTES.
269
1674. Upper part of Diver. He has Ethiopian or negro features, and his hair is
thick and woolly ; his hands are extended, clasping a pinna, which he has just
brought up. The head and neck are hollowed out ; at the back a flat piece is
attached in which are two holes for rivets.
Length 5^- in. Payne Knight Coll.
1675. Bust of Diver. A head of an Ethiopian or negro, with hair carefully
arranged, and arms holding out a pinna, which he has just brought up.
Ht. if in. ; length 4 J in.
1676. Negro cleaning a boot. He kneels on r. knee,
looking to his r., and holds up a boot in 1. hand, to
which he applies a sponge with the r. ; he has woolly
hair, in which is a fillet.
Ht. 4 in. Hertz Coll., 1859 {Sale Cat. 587). Arch. Zeit.
1843, p. 203. On the head is a support fur some object, in
which a hole is pierced.
1677. Bust of Negro. He looks to his r. ; he is clean-
shaven, and wears a close-fitting conical cap ; round
the arms are tied ornamented bands covered with
stippling ; the eyes are inlaid with garnets. On either
side the bust is supported by volutes, and below is a
support with incised patterns of rings and chevrons.
Ht. 6 in. Castellani, 1873. At the back of the neck is a ling.
1678. Herdsman. He stands with 1. foot drawn back, looking down to r. ; he
carries a skin bottle over 1. shoulder. He is beardless, and wears a short chiton
with cuirass (?), over which is a sort of thick coat (cncullus ?) drawn together over
the breast and falling over the back, with a hood attached.
Ht. i\ in. Towneley Coll. Right arm broken. Has been gilt ; of doubtful antiquity,
perhaps dating from the Renaissance period.
1679. Fisherman. He looks to his 1., and holds a basket containing a fish in 1.
hand ; in r. he has held a fishing-rod. He is beardless, and wears a peaked cap,
short sleeved chiton and upper garment, and a twisted ring round 1. arm.
Ht. 2| in. From S. Maria di Capua. Bequeathed by Sir W. Temple, 1856. Both
legs lost.
1680. Dead man. He lies as if stretched out on a bier, with head inclined to his
1. and r. hand down by his side ; 1. hand muffled in a himation which passes
over 1. shoulder ; he is bearded and has straight hair.
Ht. 3 1 in. Hamilton Coll.
1681. Skeleton. The body is bent backwards, with legs close together and r.
arm bent.
Ht. 4! in. Payne Knight Coll. (xcvii. 14). Fe.t, left arm, and right hand lost.
Fig. 27 = No. 1676.
27O CATALOGUE OF BRONZES.
1682. Jointed Skeleton. The head, arms, and legs were fixed on pivots of metal,
so as to move about freely ; only the head and body now remain.
Ht. if in. Pourtales Coll., 1865 {Cat. 693). Cf. Ficoroni, Gemin. ant. rariores, pi. 8, p. 96 ;
Magasin Encyclopedique, 1805, ii. p. 22 ; Man. ant. del Li7icei, v. p. 6. These figures were
employed for handing round at feasts as a memento mori (cf. Hdt. ii. 78).
1683. Male figure. He stands with legs together, holding a patera in r. hand ;
in 1. he has held up some object. He has thick curly hair, and wears a loin-cloth
twisted round the waist.
Ht. 2| in. Hamilton Coll. 150. Feet and right hand lost.
1684. Male figure. He is beardless, and looks slightly to his 1. ; his r. hand is
extended, with open palm, and in 1. he holds a crook (modern) ; over his lower
limbs is drapery caught up over 1. arm. The top of the head rises very much.
Ht. \z\ in.
1685. Male figure (Heracles P). He stands with 1. leg slightly advanced, and
hands extended ; his hair is straight and thick, and he wears a sort of short
chiton and a chlamys over 1. arm.
Ht. 4 in. Right arm broken off; very rude and barbaric.
1686. Male figure seated on a rock. His hands are clasped round his r. knee,
which is drawn up ; underneath him is drapery, passing over 1. thigh ; the
features are obliterated.
Ht. 2§ in. Presented by Rev. G. Chester, 1875. Very rude.
1687. Male figure. He stands in the attitude of a Polycleitan athlete, with 1. leg
bent and face looking downwards ; he is nude and beardless, and wears a thick
wreath or fillet ; his body is inclined over to his 1.
Ht. 4g in. Right fore-arm and left hand lost. Rough work.
1688. Male figure, in relief. He stands with 1. leg bent, face to front, sword in
r. hand, 1. by his side ; he has a short curly beard, Egyptian head-dress, chlamys
tied at neck and hanging behind, and greaves.
Ht. 2>z m- Semi- Egyptian style.
1689. Youth. He stands with 1. leg bent, bending backwards, and holds a small
pot in each hand ; the one in his 1. has a cover ; he wears a fillet, and has straight
hair combed downwards.
Ht. 6J in.
1690. Youth, forming the handle of a mirror, with r. hand on hip and 1. on chest.
Ht. 3 in. Salamis, Cyprus, 1891 (site O. Presented by the Cyprus Exploration Fund.
Journ. licit. Stud. xii. p. 137. Poor work.
MISCELLANEOUS STATUETTES. 27 I
1691. Iconic head, with part of neck, broken from a bust or statue of a youth with
prominent aquiline nose and irregular features ; life-size. He wears a thick
fillet. The head is of excellent work and in perfect preservation, and probably
dates from the third century B.C.
He. lo| in. Payne Knight Coll. (lxx. 10). Found near Smyrna in 1820.
1692. Iconic Head of a beardless man, life-size, placed on a modern bust ; hair
carefully and realistically rendered, even on the chin.
Ht. 8'i in. Payne Knight Coll. (lxx. 6). Found on an island in the lake of Bolsena, 1771.
Eyes and nose restored. Good patina.
1693. Head of bald Man, with brutal features.
Ht. 3J in. Towneley Coll. Very coarse.
1694. Female Figure. She stands with 1. foot slightly advanced, and 1. hand on
breast ; her r. arm is bent, and the r. hand has held some object. Her hair is
gathered in a knot at the nape of the neck, and she wears a fillet, long sleeved
chiton, and himation falling in pteryges.
Ht. 2| in. Payne Knight Coll. (xci). The costume is characteristic of the best Greek
period, but the work is Roman.
1695. Female Figure. She stands on 1. leg, with r. hand held up, the fingers
clasped round some object, only part of which remains ; in 1. hand is a torch or
spear-shaft resting on the ground. Her hair is gathered in a knot at the nape
of the neck ; she wears long high-girt chiton and apoptygma.
Ht. 4I in. The pupils of the eyes are incised.
1696. Female Figure. She stands on 1. leg, looking to her r., and holds out a
pyxis in 1. hand ; her hair is tied in a queue behind, and she wears necklace, long
girt chiton, himation over 1. arm, and shoes.
Ht. 6i in. Castellani, 1873. Right fore-arm lost. Rude work.
1697. Female Figure. She stands with knees bent, looking slightly to her r. ; her
hair is gathered in a bow on the top of the head and a knot at the back, and she
wears long girt chiton and himation over 1. shoulder.
Ht. \\ in. Right arm and left hand lost ; vey rude.
1698. Young Girl. She stands on r. leg, with 1. hand on hip, holding an apple (?)
in r. hand ; she has short smooth hair, and wears a long girt chiton with
apoptygma reaching nearly to the knees ; the eyes have been inlaid.
Ht. \\ in. Late Roman work.
1699. Female Bust, supported by a bird with outstretched wings and head turned
to its r. The hair is parted and rolled, falling in formal curls on the neck ; high
stepJuint with scroll patterns, and drapery fastened in front.
Ht. 2^ in. Payne Knight Coll.
272 CATALOGUE OF BRONZES.
1700. Female Bust, perhaps a goddess. The head is inclined to r., looking to r. ;
the hair is parted and waved and tied in a knot at the back with ends hanging
down ; sphendonk with incised chevron pattern and drapery fastened with brooches
on the shoulders.
Ht. 3i in. Towneley Coll.
1701. Female Head, slightly inclined to r., the hair parted and waved, falling
straight behind ; earrings, and on the top of the head remains of some ornament,
perhaps a crescent, in which case the figure would be Artemis.
Ht. i\ in.
1702. Female Bust, ending in a lion's claw, a r. hand visible on the r. side of
the neck ; the hair is parted and falls in curls ; twisted fillet round hair, necklace,
veil over back of head, and edge of drapery in front.
Ht. 2\ in. Blacas Coll., 1867. From the foot of a cista ; probably Etruscan work.
1703. Female Bust, looking up to r. with an expression of pain ; hair parted and
waved ; radiated spkendonk and drapery on shoulders.
Ht. 2J in. Patina.
1704. Female Bust, probably a portrait of a Roman lady. She looks slightly to
r. ; her hair is parted and falls in straight masses, gathered loosely together
behind ; she wears a necklace with bulla.
Ht. 3J in. The bust rests on a calyx, below which is a moulded pedestal.
1705. Bust of Roman Lady. Hair parted and waved ; wears spkendont, drapery
in front, and veil over back of head.
Ht. if in. Payne Knight Coll. Rather flat.
1706. Female Head, looking up slightly to r., wearing sphendonk ; the hair is
brushed back into a sort of point on the r. side of the back of the head.
Ht. 1 1 in. Towneley Coll.
1707. Female Bust, wearing Phrygian cap (top broken off) on which are .two
crosses incised ; thick fringe of hair ; chiton over shoulders. Below, a moulded
pedestal ; at the back, a square hook for attachment.
Ht. 3 in.
1708. Iconic Female Bust. The hair is drawn back and waved each side ; she
wears earrings with pendants, and a fillet ornamented with rosettes ; small wings
have been attached to the head, but are broken off.
Ht. 4i in. Towneley Coll. Hole in top of head.
1709. Iconic Female Head. The hair is parted, and falls in rows of curls each
side, with a broad band passing over the back of the head ; she wears earrings.
Ht. 3ij in. Sloane Coll. 472. Hollowed out behind.
miscellaneous objects. 273
Weights from Steelyards (1710-1716).
1710. Female Bust, with hair parted and waved and rolled up at the back,
sphendonb, and chiton fastened on the shoulders ; ring in top of head.
Ht. 3! in. Towneley Coll.
1711. Female Head, with hair down each side of the face, peaked cap, and
sphendonL
Ht. 4} in. Towneley Coll. Very coarse.
1712. Female Head, with broad opistJwsphendoni: tied in a bow on the forehead,
and ampyx with patterns.
Ht. 1 1 in. Ring lost.
1713. Female Head, wearing peaked cap or helmet surmounted by a Gryphon's
head with crest, and spJiendonb ; thick hair.
Ht. \\ in. Surface suspicious.
1714. Female Head with hair waved and rolled up at the back ; ring on top ;
moulded base.
Ht. 2| in. Bequeathed by Sir W. Temple, 1856.
1715. Female Head with hair rolled up on either side of head and in parallel
tresses along the top, knotted up at the back of the neck ; ring on top.
Ht. 3f in.
1716. Female Bust (Athene ?), wearing helmet and cuirass (?) ; large hook
attached.
Ht. 5 1 in. Mylasa, 1870. Very rude. Belongs to the steelyard No. 2987.
1717. Two Busts of Boys, which have been affixed to a chair or couch ; the hair
is tied in a top-knot on the forehead, and two thick curls hang down each side
of the face ; hollowed out behind.
Ht. 4 in. Castellani, 1873.
1718. Bust of Girl, forming a vase. She has short hair in separate clustering
locks, and wears a tore with pendant crescent. On either side of the head rises
a loop, below which is a leaf in relief, to which a handle has been attached.
Ht. 67g in. Found in Egypt, 1876. The vase has a hinged lid.
1719. Head of Child, the hair arranged in parallel plaits drawn up into a tight
knot on the crown ; wears chiton fastened on the shoulders and necklace with
crescent in front, tied behind, and ending in two ivy-leaves.
Ht. 3| in. Payne Knight Coll. In the style and treatment of the hair this closely
resembles a marble head in the Brit. Mus. {Mus. Marbles, x. pi. 18).
T
274 CATALOGUE OF BRONZES.
1720. Head of Girl, in high relief, with hair parted and rolled each side ; at the
top, a ring (broken) ; ends below in a pin for insertion.
Ht. 2\ in. Probably Greek work.
1721. Head of Young Girl. The hair is tied at the back and falls in a mass
behind.
Ht. I in. Payne Knight Coll. Good style ; pretty expression.
1722. Bust of Boy, probably iconic. Smooth hair ; drapery fastened with a Plate
brooch on r. shoulder. XXVI.
Ht. 3| in. Payne Knight Coll. (lxx. 5).
1723. Head growing out of a tall flower. Thick hair ; drapery covers the head,
and is wrapped round close under the chin.
Ht. 3} in. Flat at the back.
1724. Fragment of head of large statue, consisting of the mouth, left cheek, and
eye, the pupil of which is left hollow, the eye-ball incised.
Ht. 6| in. Presented by Chambers Hall, Esq., 1855. Rather coarse late work.
1725. Fragment of head of large statue, consisting of right eye with overhanging
brow, and cheek with part of whisker.
Ht. 5x in. Towneley Coll. Late work.
1726. Fragment of curling hair, by the side of which is a leaf ornament.
Length 3! in. From excavations at Ephesus, 1867. Hellenistic style.
1727. Two strands of hair twisted together, and two straight tresses, joined side
by side ; with a piece broken off.
Length 8| and 2 J in. Obtained by Lord Stratford de Redcliffe from Calymnos, 1856.
1728. Pair of Wings, probably from a statue of Nike. They bear traces of gilding
and of charred wood ; one is very incomplete.
Length of one, 2 ft. 5 in. ; width, 9^- in. ; length of the other, 1 ft. \\\ in. ; width, 8f in.
Found on the floor of the temple of Athene at Priene. Presented by the Society of Dilettanti,
1870. Antiquities of Ionia, iv. pp. 26, 29, 31. The statue from which these come must have
been about 3 ft. high, and may have been held in the hand of the colossal temple-statue
of Athene. Corroded.
IV. MONSTERS AND ANIMALS (1729-1928).
(1). MONSTERS (1729-1750).
1729. Gorgoneion. Late beautiful type ; wings on forehead ; rich curls of hair
down each side of the face, intertwining like snakes.
Ht. \\ x \% in. Payne Knight Coll. Fine dark green patina.
MONSTERS. 275
1730. Gorgoneion. Small wings above forehead, and hair in clustering curls, in
which two snakes are intertwined ; two more snakes are twisted under the chin.
Ht. If in. Late beautiful type. Has been attached to some object, probably the handle
of a vase.
1731. Gorgoneion, on a medallion, in low relief; late type ; with curly hair inter-
twined with snakes.
Diam. 3I in. From Athens. Presented by Sir John Evans, K.C.B., 1891. Two holes
for attachment to some object.
1732. Gorgoneion. Archaic type ; curls along the forehead, and protruding
tongue.
Diam. if in.
1733. Gorgoneion. Beautiful type ; richly-curling hair with small wings and two
snakes intertwined in the hair and tied under the chin.
Ht. if in. Payne Knight Coll.
1734. Gorgoneion. Beautiful type, with wavy hair, wings, and a rosette over the
forehead ; circular earrings ; hollowed out behind for attachment.
Ht. 2| in. Castellani, 1873.
1735. Gorgoneion. As the last ; snakes tied under chin.
Ht. 3f in. Payne Knight Coll. Flat at the back.
1736. Gorgoneion, with richly-curling hair, surrounded with twisted snakes, two
knotted over the forehead ; the eyes are closed.
Ht. 1 in. Found in the Seine at Paris. Presented by A. W. Franks, Esq., J 880. Care-
ful work.
1737. Pegasos. Wings addorsed ; head turned slightly to 1.
Ht. 3J in. Towneley Coll. All four legs and tail broken off.
1738. Pegasos, in relief.
Ht. 3 \ in. Very rude work. In the body, a hole for attachment.
1739. Siren. She has human breasts and wings spread and recurved ; her hair is
twisted back from the face, and falls in a long tress on each shoulder. On either
side is a volute pattern.
Ht. 2 in. Payne Knight Coll. (xliv. 2). Broken on left side ; flat at the back, having been
attached as an ornament.
1740. Bust of Siren rising out of the calyx of a flower, which rests on a lion's
paw. She has human breasts and wings spread and recurved ; the hair is rolled
up behind, and over the forehead is a stephauk*
Ht. 2I in. Blacas Coll., 1867.
T 2
276 CATALOGUE OF BRONZES.
1741. Siren, standing on part of a globe. She has long hair falling in a thick
wavy mass, and wears a necklace of beads with three pendants ; on her head is
a conical fruit set in a calyx of three recurved leaves, and on the chest are two
rosette-like projections, perhaps to indicate human breasts, between which is a
long leaf pointing downwards.
Ht. 3| in. Hamilton Coll. 90.
1742. Siren. Her hair is drawn back and tied in a club, and she has human
breasts.
Ht. 3 in. Hamilton Coll. On the head, a projection like the head of a nail.
1743. Siren, standing on a stud or nail-head. She wears a twisted fillet fastened
behind, and a necklace, and her hair falls in a straight mass.
Ht. 2 1 in. Payne Knight Coll. (xliv. 1). Archaic treatment.
1744. Sphinx. She is seated on her hind-legs, with wings addorsed ; her hair is
gathered back under a fillet and tied in a knot on the neck.
Ht. i| in. Sidon, 1885. Has been attached to a piece of furniture.
1745. Two Sphinxes seated opposite each other, on a base with volute patterns.
They look to the front, and their wings are spread ; their hair is rolled up at the
back. Flat at the back ; has been applied as an ornament.
Ht. 2J in. Found near Mount Vesuvius. Hamilton Coll. Part of the tail of the Sphinx
on the right is broken off.
1746. Sphinx in relief, on a square framed panel, with a hole for suspension. She
is seated to 1., with one paw raised, wings recurved, hair knotted up under a fillet.
if x 1 J in.
1747. Monster, fore-part of, issuing from a calyx which rests on a lion's claw ; it
has recurved wings, lion's head and mane, and the horns of an ibex.
Ht. 5s in. Payne Knight Coll. At the back, a support with flat top.
1748. Gryphon springing forward ; body of lion ; mane and eagle's beak ; small
wings.
Length 3J in. Sloane Coll. 532.
1749. Gryphon seated on hind-legs, with dog's body, eagle's beak, long ears, and
crest ; wings recurved.
Ht. 1 1 in. One wing broken.
1750. Head and neck of Gryphon, as the last.
Ht. if in. Has been attached to some object.
ANIMALS. 277
(2). ANIMALS (1751-1928).
1751. Lion, seated, with r. fore-paw resting on a ram's head ; he looks to his r.
Ht. 4g in. Castellani, 1873. Patina.
1752. Lion, seated on his haunches, with mouth open and tail curled up.
Ht. 2| in. 1852.
1753. Lion. He looks round to his 1.
Ht. 3! in. Payne Knight Coll. (lvi. 4). Part of ancient base.
1754. Lion, walking, with both 1. feet lifted, head turned slightly to his 1.
Ht. if in. Payne Knight Coll. Good patina.
1755. Lion, crouching for a spring, with r. fore-paw raised.
Length 4! in. Presented by A. W. Franks, Esq., 1879.
1756. Lion lying down.
Length 2| in. Purchased near Theologo, Rhodes. Presented by General Haug, 1862-
One fore-paw broken off; corroded and coarse.
1757. Lion in relief, walking to r. ; a band is fastened round the body.
Length 2 in. Presented by General Meyrick, 1878.
1758. Lion devouring a bull or sheep, springing on it from behind and biting its
1. shoulder ; its r. fore-leg is doubled up.
Length 2 in.
1759. Lion preparing to spring.
Ht. 1 1 in. Sloane Coll. 750.
1760. Lion, placing fore-paws on a medallion resting on its edge, on which is a
Gorgoneion in relief; his hind-quarters rest on a thin bent base, turning at a
right angle ; the whole has formed part of some piece of furniture.
Ht. 2 j in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856. Cf. Babelon
and Blanchet, Bronzes de la Bibliothcque Nat., No. 11 33.
1761. Lion, as the last, but no design on the medallion.
Ht. 1 i in.
1762. Lion's head, with mouth open, forming the termination of some object,
perhaps the handle of a lamp.
Ht. 2\ in. 1854.
1763. Lion's head, hollowed out behind.
Ht. if in. From excavations at Cyrene, lRfii. Much worn.
278 CATALOGUE OF BRONZES.
1764. Lion's skin, probably from a statuette of Heracles, the front part, with head,
mane, and fore-paws.
Ht. 7| in.
1765. Lion's head, forming spout, with open mouth.
Ht. 4!i in. Towneley Coll. Surface in bad condition.
1766. Lion's head, hollow at back, with open mouth ; spirited modelling, but
rough surface.
Ht. 9^ in. Castellani, 1873.
1767. Tiger, preparing to spring.
Length 3^ in. Blacas Coll., 1867. Ancient base, with an upright piece at the end, through
which is a hole.
1768. Tiger, head of; has been fixed to something.
Ht. 1 1 in.
1769. Panther, with 1. fore-paw raised ; stippled all over to indicate skin.
Ht. 2j in. From Corfu. Woodhouse Coll., 186S.
1770. Panther devouring a deer or sheep, as No. 1758.
Length 2J in. Payne Knight Coll. The hinder parts of both animals are injured.
Patina.
1771. Two female Panthers crouching, with fore-paws extended, and mouth
open.
Length 4! in. Castellani, 1873.
1772. Female Panther, with head turned to its 1., snarling.
Ht. 2~ in. Part of ancient base.
1773. Female Panther, standing on hind legs, with fore-paws raised, as if about
to spring.
Ht. 2| in.
1774. Leopard springing forward ; inlaid with round discs of gold to indicate
spots.
Length 1^ in. From Chiusi. Castellani, 1872.
1775. Winged Leopard springing forward ; inlaid with round discs of silver to
indicate the spots.
Length 2\ in. From the East, 1863.
1776. Cat, seated on its hind-legs.
Ht. 3I in. From TeH-Nebesheh, Egypt. Presented by the Egypt Exploration Fund,
1888. In bad condition ; head and shoulders restored. A similar specimen in the Gizeh
Museum is given in Zeitschr.Jiir Ethuol. 1889, pi. 2, fig. 4.
ANIMALS. 279
1777. Head of Wolf (?), with open mouth, forming a spout.
Ht. 4 in. Payne Knight Coll.
1778. Bear walking. Mouth open as if growling ; very shaggy fur.
Ht. 3 in. Hertz Coll., 1859 {Cat. 784).
1779. Bear or Dog, squatting on haunches and looking down to its r. ; well
modelled, with life-like expression ; hair very minutely rendered.
Ht. 2| in. Castellani, 1873.
1780. Boar-Hunt. Two boars running on uneven ground ; a dog has jumped on
the back of the hinder one and has fixed its teeth in its shoulders.
1781. Boar, head of.
Ht. 1 1 in. Well executed ; has been fastened to the end of some object.
1782. Pig. Stands with feet close together, tail curled, and head slightly turned
to its r. ; a band is tied round the body.
Ht. 1 in. Payne Knight Coll.
1783. Pig.
Ht. I in. Presented by General Meyrick, 1878.
1784. Deer. It lies on a rock with fore-legs bent and hind-legs doubled up under
it, the mouth open. The rock is of an approximately cubical shape and is hollow ;
on it are incised various patterns, vine-leaves and bunches of grapes, and in front,
acanthus-leaves (?) ; on one side is incised the figure of a youth to r., carrying a
net ; on the other, a quiver.
Ht. 4f in. Hamilton Coll. (iii. 17). There is a hole in the back, and the nose, eyes, and
ears are perforated ; at the back are two loops for the attachment of some object.
1785. Deer, standing with fore-legs close together and hind-legs bent under it ;
head raised, with open mouth ; branching antlers.
Ht. 3 in. Right hind-leg, tail, and right antler broken.
1786. Deer, running, with head turned slightly to its r.
Ht. 4 in. From Corfu. Woodhouse Coll., 1868. The horns have been separately
inserted, but are now lost.
1787. Deer with branching antlers.
Ht. 2£ in. From Corfu. Woodhouse Coll., 1868.
1788. Elephant, with a saddle-cloth on its back, walking along ; has tusks.
Ht. li in. Pulsky Coll., 1868 {Cat. 222). Reinach, Repertoire, ii. p. 766, Nc. 2. Trunk
broken.
2 8o
CATALOGUE OF BRONZES.
1789. Hippopotamus running, open-mouthed.
Ht. if in. Pulsky Coll., 1868 {Cat. 223). Hind-feet lost.
1790. Donkey, with panniers, braying, with head
raised and legs set stiff.*
Ht. 2! in. Pulsky Coll., 1868 {Cat. 255) ; Denon Coll.
Reinach, Repertoire, ii. p. 745, No. 3.
1791. Fore-part of galloping Horse, for insertion
in a socket ; hole through mouth to back ; has
formed a jet of a fountain.
Length 6 } in. From Torre Annunziata. Bequeathed
by Sir W. Temple, 1856. Corroded.
Fig. 28 = No. 1790.
1792.
1793.
1794.
1795.
1796.
1797.
1798.
1799.
1800.
1801.
Horse, as if plunging, with 1. fore-leg and r. hind-leg raised.
Ht. 4| in. Payne Knight Coll. Spirited style.
Horse squatting down with fore-legs raised.
Ht. 2 in. Reinach, Repertoire, ii. p. 739, No. 1. Ancient base.
Horse, with hogged mane ; a thin piece of bronze inserted in the back.
Ht. 2f in. Right hind-leg and tail broken.
Horse's Head, with headstall ; has been fixed to some object.
Ht. if in. Payne Knight Coll.
Cow, walking.
Ht. 6| in. Castellani, 1873. Feet lost. Well executed.
Cow, walking, with head down.
Length i\ in. Legs and tail broken. Marked " SM."
Cow lying down, looking to its 1.
Ht. 2jj in. Hollis Coll. 30. Rather rude.
Cow.
Ht. l| in. Blacas Coll., 1867.
Bull. Stands v/ith legs apart.
Length 3I in. Purchased of Mr. A. Biliotti, 1874. Very coarse.
Two Bulls on the same base, walking, with large dew-laps.
Ht. il in. Strangford Coll., 1864. Behind, in the base, which is ancient, a large hole
for attachment.
* Compare the description in Petronius, Sid*!, 31, of a donkey with panniers in Corinthian bronze,
used for holding olives on a dinner-talde.
ANIMALS.
28l
1802.
1803.
1804.
1805.
18T06.
1807.
1808.
1809.
1810.
1811.
1812.
1813.
1814.
1815.
1816.
Bull, butting, running with head down to his 1.
Length 2 in. From the temple of Artemis at Ephesus, 1874. Ancient base.
Bull. The space between the horns is filled in with a disc.
Ht. 2| in. Blacas Coll., 1867. Coarse.
Bull. Left fore-leg lifted ; tail curled on back ; on the forehead a crescent.
Ht. 2jj in. Ancient base.
Bull. Right fore-leg lifted ; crescent (modern) on forehead.
Ht. 3! in. In bad condition.
Bull.
Ht. 6j in. Cameiros, 1864. Torr, Rhodes in Ancient Times, pi. 4, p. 76. Hind-feet lost.
Well modelled ; a flaw in casting on the hind-quarters.
Bull. He looks to his 1., and stands with 1. fore-leg bent ; large dew-lap,
and tail curved over back.
Ht. 3! in. Payne Knight Coll. Very fine patina.
Bull, walking with r. fore-foot raised, looking upwards ; large dew-lap and
tail curled on back.
Ht. 3 1 in. Hollis Coll. 29.
Bull.
Ht. 1 1 in. Athens (?), 1875. Ancient base, in which are two holes for attachment.
Bull. Very diminutive ; type of Cypriote bulls (cf. No. 235).
Ht. 1 in.
Bull.
Ht. 3! in. Cameiros, 1864 (tomb C. 6). Silvered over.
Bull. L. fore-leg raised ; tail curled on back.
Ht. 3 in. Payne Knight Coll. (xv. 2).
Bull.
Ht. \\ in. Corfu, 1848. MacDonald Sale (?).- Ancient base.
Bull.
Length 3^ in. From Corfu. MacDonald Sale, 1848. Rude.
Bull.
Length z\ in. From Corfu. MacDonald Sale, 1848. Very rude.
Bull.
Ht, 2 in,
282
CATALOGUE OF BRONZES.
1817. Bull.
Ht. if in. From Corfu. Woodhouse Coll., 1868. Ancient base.
1818. Bull, with head turned to his r.
Length 3 J in. From Corfu. Woodhouse Coll., 1868. Feet lost.
1819. Bull.
Ht. 2 in. From Corfu. Woodhouse Coll., 1868. Patina. Left fore-foot lost.
1820. Bull.
Ht. 2 in. From Corfu. Woodhouse Coll., 1868.
1821. Bull's Head.
Ht. 2 in. Presented by General Meyrick, 1878.
1822. Bull's Head.
Ht. 2 in. Towneley Coll. Ring at top.
1823. Bull's Head, attached to a square plate, in high relief.
3! x 4! in. From Chiusi. Castellani, 1873.
1824. Bull's Head.
Ht. 3x in. Blacas Coll., 1867. Has been attached to some object.
1825. Bull's Head.
Ht. i\ in. Bequeathed by Sir W. Temple, 1856. Has been attached to some object.
1826. Bull's Head.
Ht. il in. Auldjo Sale, 1859. Has been attached to some object.
1827. Goat, looking to its r. ; bearded ; rough hair indicated.
Ht. %\ in. Payne Knight Coll. Feet lost.
1828. Goat. Long shaggy hair on body ; no beard.
Ht. ij in. Rather coarse.
1829. Goat, mask of, with long beard.
Ht. if in.
1830. Sheep, with long tail ; over the body is slung the double purse of Hermes
(cf. Babelon and Blanchet, Bronzes de la Bibl. Nationale, No. 1 185).
Ht. i{ in. Bequeathed by Sir W. Temple, 1856. Ancient base. Probably this figure
accompanied a statuette of Hermes.
1831. Ram. Very diminutive.
Ht. li in. Towneley Coll.
ANIMALS.
283
1832. Ram squatting, with feet bent inwards, and head to its r.
Ht. 1^ in. Ancient base in the form of a capital.
1833. Ram. On the top of its head is a lotos-flower.
Ht. 2 in.
1834. Ram's Head. Well executed.
Ht. z\ in. Blacas Coll., 1867.
1835. Ram's Head. Well executed. Eyes of silver ; in the brow, a hole for a pin.
Ht. \\ in. 1851.
1836. Ram's Head in relief to r.
Length \\ in. Presented by General Meyrick, 1878.
1837. Dog devouring a hare, seated on his haunches, with r. paw placed round the
hare, seizing its tail with his mouth ; the hare's head rests on the ground.
Ht. ij in. ; with plinth, i\ in. Found at Aix, Provence, in 1801-2. Comarmond Coll.,
1 85 1. Ancient plinth.
1838. Dog standing with r. fore paw raised as if hurt ; appealing expression.
Ht. 1 1 in. Small ancient base.
1839. Dog running forward with fore paws raised and head upturned, wearing a
collar ; under the hind feet, which are broken away, is a modern ground, strewn
with flowers.
Ht. z\ in. Payne Knight Coll.
1840. Dog with head raised.
Ht. I i in. Blacas Coll., 1867.
1841. Dog seated, as if barking.
Ht. if in. Very coarse.
1842. Dog lying with head on fore paws ; shaggy skin at the neck.
Length 2 in. From Italy. Castellani, 1873.
1843. Dog looking to its 1.
Ht. 2\ in. Payne Knight Coll. Right hind-foot lost.
1844. Dog seated on its hind legs, with head raised upwards, wearing collar.
Ht. 3I in. Towneley Coll.
1845. Dog seated on its haunches, with curly tail, wearing a collar.
Ht. 2's in.
284 CATALOGUE OF BRONZES.
1846. Dog reclining, on a circular plate, forming a lid, with a piece attached in
which is a hole for a hinge.
Length if in. Bequeathed by Sir W. Temple, 1856.
1847. Dog of the terrier type, running, looking back and barking, with curly tail,
wearing a collar.
Ht. 3^ in. Very thin proportions ; carefully executed ; patina.
1848. Dog of greyhound type, standing in an attitude as if barking, wearing a
collar.
Length 4 in.
1849. Greyhound, running.
Length 2 in. Bequeathed by Miss Auldjo, 1859. Hind feet lost ; rude work.
1850. Bitch, in barking attitude, with ears erect and tail extended, wearing a
collar.
Ht. if in.
1851. Ape squatting with r. leg doubled under 1. and hands on knees, looking
down to its r.
Ht. if in. Hamilton Coll. 63. Rather worn. Ancient base.
1852. Rabbit running or lying down.
Length 2 in. Ancient base.
1853. Two Rabbits running.
Length li in. and 2 in. Bequeathed by Sir W. Temple, 1856.
1854. Rabbit crouching down ; eyes pierced right through the head ; legs too
long.
Ht. i| in. From Locri. Castellani, 1873. Good patina.
1855. Rabbit represented as if emerging from the calyx of a flower.
Length if in.
1856. Animal of the rodent tribe, perhaps a jerboa, squatting down.
Length if in. Strangford Coll., 1864.
1857. Rat with comic mask. It squats on its hind legs, looking to r., and holds
up in its fore-paws a comic mask with pointed beard (aiprjvoTrdoyoov).
Ht. 1 1 in. Konieh, 1876. Flat ancient base.
1858. Mouse blowing a trumpet, standing on its hind legs.
Ht. 1 \ in. Pavne Knight Coll.
ANIMALS.
2«5
1859. Mouse holding a fruit in its paws, on a circular lid of some object, with a
piece for attachment by means of a hinge.
Length 2| in. Payne Knight Coll.
1860. Mouse sitting up on hind-legs, eating a cake marked with a cross held in
the fore-paws.
Ht. I g in. Presented by Mons. A. W. Thibaudeau, 1881. Ancient base.
1861. Mouse squatting, eating some object.
Length 2 in. Blacas Coll., 1867.
1862. Mouse squatting on hind-legs, with head turned to its 1., holding a fruit (?)
in its fore-paws.
Length 2\ in.
1863. Mouse seated on hind-legs, eating an object held in its fore-paws.
Ht. I in.
1864. Mouse crouching, eating an object held in fore-paws.
Length x\ in.
1865. Mouse holding a nut (?) in its fore-paws.
Length 2^ in. Bequeathed by Miss Auldjo, 1859. Tail broken.
1866. Mouse squatting, eating an object held in fore-paws.
Length 1} in. Payne Knight Coll.
1867. Mouse seated on hind-legs eating a cake held in fore-paws.
Ht. J in. Patina.
1868. Mouse seated on hind-legs, eating a fruit held in fore-paws.
Ht. lg in. Castellani, 1873.
1869. Mouse, as last.
Ht. 1 in.
1870. Mouse squatting, eating a fruit held in fore-paws.
Ht. 1} in.
1871. Mouse squatting, eating something.
Length 4 J in. Purchased from Mr. A. Biliotti, 1 874. Coarse ; worn and injured.
1872. Eagle, flying, with wings spread, mounted on a spike for insertion.
Ht. 2 j in. Presented by General Meyrick, 1878.
CATALOGUE OF BRONZES.
1873. Eagle, looking up to its 1.
Hu :
1874. Eagle, looking up to its 1.. with wings spread ; feathers deeply scored.
Ht. 2| in. Auldjo Sale, I r;o. Remains of ancient base as perch.
1875. Eagle standing on a stag's head between its antic -
H:. : ; in. Gree :e, 1875.
1S76. Eagle flying, with a stag's antlers y?) in its beak ; under its feet the head and
fore-legs oi the stag : .
Ht. 1} in. Fulsky Coll.. : 8 - Cat. :_: back cf the neck is a ring.
1877. Eagle, standing on a large bird's claw, with wings spread and recurved.
Ht. ;} in. Towneley Coll. Good execution ; patina.
1878. Eagle standing on a ball, with wings spread.
Ht. *J in. Coai - -
1879. Eagle looking to its r, with wings spread and r. claw raised ; behind its
back is a ledge, showing that it has been attached to a piece of furniture.
H:. 3 in.
1880. Head of Eagle, with a fruit in the beak.
Ht. ij in.
1881. Bird with curved beak, perhaps an eagle.
Ht. 2^ in. Ancient peel---
1882. Raven. In the 1. claw it holds a large walnut [?) ; it stands on an ancient
base representing ground strewn with flowers,
Ht. 15; in. Presented by Lord Seafor. 1777
1883. Raven or crow.
Ler_ From Rome. CaSi ■ Feet lost er corroded.
1884. Owl. Feathers indicated, but rather coarse work.
Ht- 2 in. From Corfu. Woodhous. C« 186S Ancient base.
1885. Cockatoo.
Ht. ij in. Payne Knight Coll.
1886. Cockatoo or macaw. Long tail ; no ere-:.
Ht. : in. Bequeathed b' M ss '• -
ANIMALS.
287
1887. Goose, probably part of a fountain. Round its neck is a twisted necklace ;
the beak forms a spout, the pipe dividing below the neck.
Ht. 23 in. Found in the Hippodrome (At-Meidan), Constantinople ; acquired, 1859.
Keller, 7 hiere d. klass. A Iter turns, p. 302. Legs broken.
1888. Duck, pluming its r. wing.
Ht. I in. Presented by General Meyrick, 1878. Rude work.
1889. Duck.
Ht. ij in. Ancient base.
1890. Bird in waddling attitude, with wings spread.
Ht. l{ in. Towneley Coll.
1891. Cock.
Ht. i] in. From Corfu. Woodhouse Coll., iVjZ. Very rude.
1892. Cock.
Ht. 1 2 in.
1893. Cock.
Ht. 1^ in. Acquired from Visct. Strangford, 1864.
1894. Cock.
Ht. 3 1 in. Cornb lost ; eyes filled in with modern black beads.
1895. Pigeon.
Ht. 1; in.
1896. Bird, with wings crossed over its tail and head raised.
Ht. \\ in. Good yellow patina.
1897. Bird, probably an eagle.
Ht. Ij in. Feathers carefully rendered.
1898. Bird with wings spread ; ancient base,, with a palmette in relief.
Ht. 1 1 in.
1899. Crow.
Length 2] in. One leg lost.
1900. Toad squatting.
Length 3: in.
1901. Toad, as last.
Ht. 1 1 in. Found at Leucas, Acarnania ; acquired from Col. Ross, 184.6. Coarse work.
255 CATALOGUE OF BRONZES.
1902. Frog.
Length i f in. Natural colour produced by patina.
1903. Prog.
Length l} in. Blacas Coll., 1867. Punctured all over.
1904. Frog, with a smaller frog perched on its back.
Length i| in. Payne Knight Coll. Rather coarse.
1905. Tortoise.
Length if in.
1906. Tortoise.
Length if in. Punctured all over.
1907. Snake, with head rearing up from the middle of a double coil into which its
body is twisted ; its mouth is open, and it has a crest and beard.
Ht. 3| in. Borrell Sale, 1852 (Lot 1534). Tail broken.
1908. Snake, uncoiled nearly to its full length, with head rearing, mouth open,
crest and beard.
Length I3{- in.
1909. Snake, as last.
Length 13J in.
1910. Snake coiled up.
Ht. 3| in. Athens, 1865. Tail broken off.
1911. Snake slightly coiled.
Length i-f in. Blacas Coll., 1867. Coarse.
1912. Snake, nearly at full length ; on one side of the body scales are indicated,
the other is ribbed all the way along ; the head is of silver.
Length 7 1 in. From Corfu. Woodhouse Coll., 1868. Greek work.
1913. Snake, twisted into the form of an S> with tail ending in a barb ; scales
only on the sides of the body.
Length 2% in. From Corfu. Woodhouse Coll., 1868.
1914. Lizard, at full length with legs extended.
Length 5| in. Payne Knight Coll.
1915. Two Lizards with feet placed on one another and tails intertwined, as if
playing.
Length \\ in.
ANIMALS. 289
»
1916. Lizard curled round.
Length i| in. Blacas Coll., 1867.
1917. Scorpion.
Length 2 £ in. From Carthage, i860 ; excavated by Rev. N.Davis. See Babelon and
Blanchet, Bronzes de la Bibl. Nationale, No. 1231, for discovery of similar scorpions at
Carthage.
1918. Scorpion.
Length 27g in. From Carthage, i860 ; excavated by Rev. N. Davis.
1919. Crab.
Length 5J in. From Smyrna. Sloane Coll. 383. Hole in body ; claws broken and legs
lost, all but two. Coarse work.
1920. Crab. One claw bent back on body.
Length 2yin. From Rhodes (?) ; acquired from M. Biliotti, 1874. Legs lost ; cast solid.
1921. Head of Fish. Mouth open (part broken away).
Length 3^ in. Bequeathed by Sir W. Temple, 1856.
1922. Dolphin, which has perhaps formed the jet of a fountain, as there are
remains of a tube in the mouth. The eye is of human shape, set in a raised
leaf-like piece ; the surface of the body marked with parallel lines.
Length 12 in. From Constantinople. Presented by A. W. Franks, Esq., 1883.
1923. Two Dolphins. Flat perforated pieces are attached to the tails and under
the heads.
Length 10 and 10^ in. Towneley Coll.
1924. Dolphin in the form of a lamp, the open mouth forming the spout, with a
hole in the back for filling.
Length 9I in. From Smyrna. Sloane Coll. 382.
1925. Dolphin. The tail is curved in a single twist.
Length 3! in. Towneley Coll. Corroded.
1926. Dolphin.
Length 2J in. Payne Knight Coll.
1927. Dolphin. Tail uplifted ; a chain attached to a ring in the back.
Length \\ in.
1928. Dolphin. Tail uplifted.
Length 2 in. Blacas Coll., 1867. Coarse work.
290
II. IMPLEMENTS AND UTENSILS
(1929—3194)-
A. PERSONAL ORNAMENTS (1929-2312).
1929.
1930.
1931.
1932.
1933.
1934.
1935.
1936.
1937.
1938.
1939.
1940.
1941.
1942.
1943.
I. FIBULAE AND BROOCHES (1929-2224).
FIBULA. Hallstatt type; in the form of a large spiral. Diani. 4? in. From Ruvo.
Bequeathed by Sir W. Temple, 1856.
FIBULA. Spiral from fibula of Hallstatt type. Diam. 5 in. Payne Knight Coll.
SPIRAL FIBULA. Hallstatt type ; of thirteen coils, set within a grooved band, which
is pierced with a number of holes. Diam. 5I in. Naples, 1884.
SPIRAL FIBULA. As the last; the outer band perforated with twenty-six holes.
Diam. 4J in. Hamilton Coll. 115.
FIBULA of Hallstatt type, in the form of a double spiral, the two joined by a figure-of-
eight clasp. Length 8 in. Towneley Coll.
FIBULA. Hallstatt type; shape as an ordinary safety pin, with four spirals attached
above by a diamond-shaped centre-piece with punctured patterns. Length 2 in. Hamilton
Coll. 15.
FIBULA. Safety-pin shape, without spiral at head ; flat
bow ; double spiral above. Length 3! in. Castellani, 1872.
FIBULA. As the last ; the spirals joined by a figure-of-
eight clasp. Length 3! in. Towneley Coll. Pin wanting.
FIBULA. As before. Length 3I in. Hamilton Coll. 37.
Pin wanting.
FIBULA. As before. Length 4f in. Payne Knight
Coll.
Fig. 29 = No. 1935.
FIBULA. As before ; the pin is attached to the centre
of one spiral and passes through a hook attached to the centre of the other, so that there is 1 o
bow. Length 4? in. From Paestum. Castellani, 1872. Corroded.
FIBULA. As the last. Length 4I in.
FIBULA. As the last; the spirals joined by a figure-of-eight clasp. Length ll in
Castellani, 1872.
FIBULA. Fiddle-bow type; in the middle of the bow is a slight projection on either
side. Length 6j in. From Torre Annunziata. Bequeathed by Sir W. Temple, 1856.
FIBULA. As the last. Length g7H in. From Torre Annunziata. Bequeathed by Sir W
Temple, 1856.
FIBULAE. 291
1944. KIBULA. As before ; no projections on bow. Length 7] in. From Torre Annunziata.
Bequeathed by Sir W. Temple. 1856.
j^
•yC
Fig. 30 = No. 1944.
1945. FIBULA. As the last ; on the top of the bow, two bosses around which are coils of wire ;
in the middle are two knobs inserted (one lost) ; foot in form of hook. Length 8 in.
Hamilton Coll.
1946. FIBULA, of a Greek type, with quasi-rectangular bow and small foot bent up. Length
1 J in. Ht. if in. Amathus, Cyprus, 1894 (Turner bequest). Pin lost ; corroded.
1947. FIBULA, somewhat similar, perhaps Mycenaean (cf. No. 57) ; bow elliptical, with a ring
round the middle. Length 2 in. Curium, Cyprus, 1895 (Turner bequest) ; tomb 98. Foot
and end of pin lost ; much corroded. Cf. Zeitschr. fiir Ethnol. 1889, p. 216, fig. 19, and
Perrot and Chipiez, Hist, dc PArt, iii. p. 831, fig. 595.
1948. FIBULA, of Cypriote type, lozenge-shaped. Length 3I- in. Amathus, 1894. (Turner
bequest). Much broken and corroded.
1949. FIBULA, as the last ; foot bent up. Length 3! in. Curium, 1895 (Turner bequest) ;
tomb 1. End of pin lost ; corroded.
1950. FIBULA (Cypriote type, see Zeitschr. fiir Ethnol. 1889, p. 216, fig. 21), of triangular
form ; the bow rises to a point in the middle, surmounted by a large knob ; on either arm is a
flat oblong piece with a ring either side ; spreading foot. Length 2§ in. Amathus, 1894.
(Turner bequest). Pin and spiral lost ; corroded.
1951. PART OF FIBULA, as the last. Length i\ in. Amathus, 1894 (Turner bequest);
tomb 53. Much corroded.
1952. FIBULA, as before. Ht. 2| in. Curium, Cyprus, 1895 (Turner bequest) ; tomb 67.
Corroded ; end of pin and foot lost.
1953. FIBULA, as before, in two fragments ; foot in form of sheath ; pin complete, but no spiral.
Length 3 in. Curium, 1895 (Turner bequest) ; tomb 6.
1954. FIBULA, fragment of, similar ; no foot, spiral, or pin. Length 2| in. Curium, 1895
(Turner bequest) ; tomb 1. Much corroded.
1955. FIBULA. Bow near'y rectangular, the middle part formed of three circular pieces, as in
the examples of the Geometrical period found at Olympia {Ergebnisse, iv. pi. 22. Nos. 362-366)
and at Thebes (see Nos. 1 19-127). Length 2I in. Hamilton Coll. 65.
1956. FIBULA. As the last ; long Lot. Length 3I in. Hamilton Coll. 58. Ktmble, Horae
Ferales, pi. 22, fig. 8. Pin broken.
1957. FIBULA. As before; foot in form of sheath, ending in a moulded knob. Length 5! in.
Payne Knight Coll.
1958. FIBULA. Boat-shaped, with chevrons incised on the bow ; hollow underneath. Length
5i in. Ht. 3 in. Presented by A. W. Franks, Esq., 1876. Pin and spiral lost.
1959. FIBULA. Bow boat-shaped, with a loose ring at either end ; long sheath-like foot
ending in a double knob. Length 3! in. From Sesto Calende, Lago Maggiore. Presented by
Sir Henry Layard, 1886. Foot injured ; part of pin lost.
U 2
292 CATALOGUE OF BRONZES.
1960. FIBULA. Boat-shapod ; long narrow foot, like an open sheath, ending in a knob ; on
the bow, patterns of incised lines, imitating the body of an insect, as the next example. Length
6 in. Hamilton Coll.
1961. FIBULA. Boat-shaped; foot as last ; on the bow, grooves and patterns of finely-incised
lines, as if in imitation of the body of an insect, perhaps a cicada, for which compare
Studniczka in Jahrbuch, xi. (1896), p. 283 * ; also Rhein. Mus. 1878, p. 625 ff. Length 7 in.
Towneley Coll. Hollow underneath.
1962. FIBULA. As the last two ; bow very thick. Length 2§ in. Pin wanting.
1963. FIBULA. Boat-shaped ; on the bow, rows of concentric circles and panels of chevrons
incised. Length 3J in. Towneley Coll. Pin lost.
1964. FIBULA. Boat-shaped; bow ornamented as last. Length 3 in. Towneley Coll. Pin
and spiral lost.
1965. FIBULA. Boat-shaped ; foot in form of sheath with chevrons incised underneath; on
the bow are longitudinal bands of chevrons and rings incised ; end of pin curved. Length 3I in.
Hamilton Coll. 21.
1966. FIBULA. Boat-shaped; foot in form of sheath ; rudely-incised lines on bow. Length
3I in. Blacas Coll., 1867.
1967. FIBULA. Boat-shaped ; on the bow finely-incised patterns of chevrons and hatchings.
Length 3 in. Towneley Coll.
1968. FIBULA. Boat-shaped; foot in form of sheath; on the bow, incised patterns in
imitation of an insect's body, as No. 1961. A ring is attached to the pin. Length 5J in.
Hamilton Coll.
1969. FIBULA. Boat-shaped ; foot in form of sheath ; on the bow, rings and longitudinal
hatchings incised. Length 3^ in. Athens, 1865.
1970. FIBULA. Boat-shaped ; on the bow, plain bands alter-
nating with bands of chevrons. Length 3 in.
1971. FIBULA. Boat-shaped ; on the bow, incised chevron
patterns; foot in form of sheath. Length 3 in. Hamilton Coll.
Kemble, Horae Ferales, pi. 22, fig. 7 (?). Pin broken.
1972. FIBULA. Boat-shaped ; bow very large and thick, with
bands of chevrons incised along it. Length 3I in. Ht. 2| in. Fig. 31 = No. 1970.
Pin and foot lost.
1973. FIBULA. Boat-shaped : the bow formed of a succession of discs of varying size placed
side by side. A disc is attached to the foot, on which is a mask of a youthful Satyr in relief.
Length 5 in. From Ruvo. Bequeathed by Sir W. Temple, 1856.
1974. FIBULA. Boat-shaped ; foot in form of a sheath ; on the bow, three very rude figures of
birds ; to the middle one is attached a flat ring. Length 3 in. Hamilton Coll. Pin wanting.
1975. FIBULA. Boat-shaped; foot in form of sheath; on the bow, incised patterns and
birds as last. Length 2 in. Hamilton Coll. 5. Pin wanting.
1976. FIBULA. As the last. Ht. if in. Hamilton Coll. Pin wanting.
1977. FIBULA. Boat-shaped ; on the bow, three birds as before. Ht. i| in. Hamilton Coll.
Pin lost.
* Studniczka suj^ests that the t<tti7€s of Thuc. i. 6 were fibulae of this type.
FIBULAE. 293
1978. FIBULA." Kite-shaped bow, with a knob on either side ; foot in form of sheath. Length
4 in. Towneley Coll. Pin lost.
1979. FIBULA. Bow kite-shaped, with a projection on cither side, and stitch-border incised.
Length 2^ in. Towneley Coll. Patina.
1980. FIBULA. Bow kite-shaped, with deep grooves, and a knob either side ; foot in form of
sheath. Length 2 in. Castellani, 1872.
1981. FIBULA. Bow kite-shaped, with a knob either side and central ridge ; foot in form of
sheath, ending in a knob. Length 2| in. Blacas Coll., 1867. Pin and one of the knobs on
side of bow wanting.
1982. FIBULA. Bow kite-shaped, with incised lines ; foot in form of sheath. Length 2 in.
Payne Knight Coll.
1983. FIBULA. Bow kite-shaped, with a pattern of concentric circles. Length 2^ in.
Payne Knight Coll. Pin lost.
1984. FIBULA. Bow kite-shaped ; foot in form of sheath. Length 4J in. Hamilton Coll.
1985. FIBULA. Bow kite-shaped, with a moulded knob
either side ; foot in form of sheath, ending in a moulded
knob. Length 3 -J in. Bequeathed by Sir W. Temple,
1856.
1986. FIBULA. Bow kite-shaped, with a projection
either side ; foot in form of sheath. Length 3^ in.
r_is-.ii a J- tig. 32 = No. 1985.
Towneley Coll.
1987. FIBULA. Bow kite-shaped, with plain longitudinal ribs. Length Si •"• Bequeathed
by Sir W. Temple, 1856. Foot lost.
1988. FIBULA. Bow kite-shaped ; foot in form of long sheath, ending in a knob. Length
5 in. Hamilton Coll. Pin broken.
1989. FIBULA. Bow kite-shaped, with finely-incised parallel lines ; long foot in form of
sheath, ending in a sheep's head on a moulded support. Length 13I in. Ht. $[ in. Hamilton
Coll. 29. Pin lost.
1990. FIBULA. Kite-shaped; highly-arched bow, with one vertical and two lateral knobs;
flat tongue-shaped foot with incised patterns. Length 3^ in. Hamilton Coll. Pin lost.
1991. FIBULA. Kite-shaped ; long foot turned upwards ; on the bow, patterns in black and
blue enamel, of bands of triple lines, meeting at right angles. Length 2* in. Purchased at
Collins sale, Sotheby's, 1851.
1992. FIBULA. Leech-type ; on the bow, finely-incised chevrons and rings. Length 2* in.
Payne Knight Coll.
1993. FIBULA. Leech-type; on the bow, chevron-patterns incised. Length 2^ in. Blacas
Coll., 1867.
1994. FIBULA. Leech-type ; bow ringed. Length i in.
1995. FIBULA. Leech-type; incised pattern on bow. Length i£ in. Hamilton Cull. Pin
lost.
1996. FIBULA. Leech- type (?) ; flat bow, with chevrons incised. Length ij in. Blacas Coll.,
1867.
294
CATALOGUE OF BRONZES.
F'S- 33 — No. 2001.
1997. FIBULA. Leech-type (?) ; semi-circular bow, ornamented with incised rings and chevrons ;
spreading foot, bent round to form a sheath for the pin. Length 6| in. Hamilton Coll.
Pin lost.
1996. FIBULA. As the last ; on the bow are incised twisted bands. Length 7 in. Ht. 4| in.
Towneley Coll.
1999. FIBULA. Leech-type ; on the bow, various patterns incised. Length 4 in. Hollis Coll
40. Pin broken.
2000. FIBULA. Leech-type (?) ; semi-circular bow, ringed. Length 5 1- in.
2001. FIBULA. Semi-circular bow, with incised rings all round ;
spreading foot bent up into a sheath. Length 2J in. Towneley Coll.
2002. FIBULA. Semi-circular bow, with punctured patterns alter-
nating with incised rings. Length 3! in. Hamilton Coll.
2003. FIBULA. Semi-circular bow ; spreading foot ornamented with
punctures, bent up into a sheath. Length I2f in. Ht. 7J in. Be-
queathed by Sir W. Temple, 1856.
2004. FIBULA. Semi-circular bow ; the pin works on a rivet and with the bow forms a pair of
pincers beyond the head ; sail-shaped foot, as early Greek type. Length y~ in. Blacas Coll.,
1867. Probably of late, but pre-Roman, date. For similar fibulae, see Babelon and BUnchet,
Bronzes de la Bibl. Nationale, Nos. 1741— 3 ; and Furtwaengler, Olympia, iv. p. 183, No. 1143-
2005. FIBULA. Semi-circular bow and flat disc-shaped foot with a sort of hook attached to
the top ; at the head, two spirals connected by a loop. Length 2 in. Hamilton Coll. 76.
Patina.
2006. FIBULA. Type as the last ; on the foot, three con-
centric circles one side, two on the other, and one on each
side of the hook. Length if in. Payne Knight Coll.
2007. FIBULA. Semi-circular bow, with rings at intervals
and incised chevrons between ; on the pin, four rings ; the
foot ends in a flat oval disc with incised patterns. Length
5i in-
2008. FIBULA. Semi-circular bow ; foot formed of a piece
bent twice upwards, between which bends the pin passes ; Fig, 34 = No. 2006.
the foot terminates in a flat circular piece with a spiral curve
inwards like a leaf. Length 5 in. From Ruvo. Bequeathed
by Sir W. Temple, 1856. For this type of early Italian fibula, see Tischler in Beitr. zur
Anthropol. u. Urgesch. Ba/ems, iv. (188 1), p. 52.
2009. FIBULA. Type as last ; round the bow, rings incised. Length 3] in. Foot lost.
2010. FIBULA. Type as before ; at the head, a double spiral ; a ring is attached to the pin.
Length 2} in. Hamilton Coll.
2011. FIBULA. Type as before ; on the tail-piece are incised maeander crosses and lozenges ;
at the foot is a cross-piece with incised patterns ; the bow has been strung with amber beads,
but only one remains. Length 3 7H in. From the neighbourhood of Rome, 1890. Head and
pin and part of bow lost ; tail-piece injured. For the maeander patterns on fibulae of this type,
cf. Bcrtrand, Religion des Gaulois, p. 168, fig. 25.
2012. FIBULA. Type as before; bow semi-circular, closely ringed, with a spiral coil round
the lower end ; on the pin, two rings ; on the tail-piece, lozenges and chevrons incised. Length
3! in. Finn the neighbourhood of Rome, 1890. Tail-piece injured.
FIBUI.AK.
295
2013. FIBULA. As before ; on the pin, a bead of variegated glass. Length 4^ in. From the
neighbourhood of Rome, 1890. Tail-piece rather injured.
2014. FIBULA. Type as before ; oval tail-piece, on which arc three bits of maeander incised iri
stitch-pattern, within a border of the same ; oval flat bow, with incised chevron patterns, sur-
rounded by closely-set rings. Length 4^ in. From the neighbourhood of Rome, 1890. Pin lost.
2015. FIBULA. As the last, but smaller ; the tail-piece is of spiral form, incised with lozenges
and border of chevron pattern ; along the middle of the bow is an additional row of rings.
Length 3! in. From the neighbourhood of Rome, 1890. Pin lost.
2016. FIBULA. Type as before, with cross-piece at foot instead of the bent pieces; bow
ringed. Length 2J in. Castellani, 1872.
2017. FIBULA. Type as before ; the bow formed of flat discs in fives alternating with pieces
of amber ; on the tail-piece, incised patterns. Length 6 in. Hamilton Coll. Pin lost.
2018. FIBULA. Type as before ; bow curving downwards to head, and joined to foot by
upright piece and spiral ; foot in form of spiral coil. Length 2\ in.
2019. FIBULA. Type as before ; tail-piece of spiral form. Length 4 \ in. From Ruvo.
Becpieathcd by Sir W. Temple, 1856.
2020. FIBULA. As before ; on the upright piece and the bow are moulded rings ; tail-piece
lost. Length 4J in. Hamilton Coll.
2021. FIBULA. Foot as before, ending in a flat spiral, joined to the bow by a ringed upright
piece and a spiral ; the bow curves downwards and has moulded rings along it ; at the head is
a large spiral. Length 5 § in. Towneley Coll. Cf. Beitr. 2. Anthr. u. Urgesch. Bay cms, iv.
(1881), pi. 3, fig. 7.
2022. FIBULA. Type as last, the bow plain and the tail-piece more as in the previous examples.
Length si in-
2023. FIBULA. As the last. Length 3I in. Hamilton Coll. Pin broken.
2024. FIBULA. Type probably as No. 2008, but the foot is lost and also the tail-piece.
Length 33 in.
2025. FIBULA. Bow as in fibulae of snake-type (as Nos. 2026-2047 below , with two spirals ;
foot and tail-piece as before. Length 4^ in. Castellani, 1872. Pin lost.
2026. FIBULA. Snake-type ; foot as
No. 2008, with tail-piece ; the bow is
ringed with discs and at the head is a
large spiral. Length 5J in. Payne
Knight Coll.
Fig. 35 = No. 2026.
2027. FIBULA. Snake -type, with
large oval tail-piece to foot. Length
lo| in. Hamilton Coll. Pin and
spiral lost.
2028. FIBULA. Variety of the snake-
type, with tail-piece ; the bow has three
spiral twists. On the pin are six beads, alternately of amber and blue
other examples. Length 2g in. From the neighbourhood of Rome, 1890.
2029. FIBULA. Variety of snake-type ; no spirals or tail-piece ; cross-piece at the head ; foot
m form of sheath; on the bow a conical piece surrounded by knobs. Length y%in. From
the neighbourhood of Rome, 1890. Patina,
;lass. Tail-piece as
296 CATALOGUE OF BRONZES.
2030. FIBULA. Snake-type, with three cross-pieces ending in knobs ; a ring is attached to it.
Length 3 in. From the necropolis of Suessula. Presented by Baron Spinelli, 1878. Romische
Mitthcil. ii. (1887), p. 251, No. 14. Found with a vase of the Geometrical period.
2031. FIBULA. Snake-type ; bow with two small spirals in the middle, passing through a disc
at the head ; foot in form of sheath. Length 2f in. From Sesto Calende, Lago Maggiore.
Presented by Sir Henry Layard, 1886. Found with an earthenware jar of Bucchero ware and
other bronze objects.
2032. FIBULA. Snake-type ; three cross-pieces ending in knobs ; lower part of bow double.
Length 6| in. Hamilton Coll. 11. Pin wanting.
2033. FIBULA. Snake-type ; on the bow, a cross-piece and a disc in which a spike is inserted.
Length i\ in. Payne Knight Coll.
2034. FIBULA. Snake-type ; two cross-pieces (one broken). Length 2f in. Blacas Coll.,
1867.
2035. FIBULA. Snake-type ; on the bow, an incised pattern ; a small medallion is attached
to the pin, on which is a rose in relief. Length i\ in.
2036. FIBULA. Snake-type, with two spirals on bow, and foot in form of sheath; on the
bow are incised hatched lines. Length 6f in.
Fig. 36 = No. 2036.
2037. FIBULA. Snake-type ; cross-piece and disc with spike on the bow. Length 3^ in.
Payne Knight Coll.
2038. FIBULA. Snake-type; on the bow, two projections ending in knobs, like horns.
Length 4 in. Payne Knight Coll. Kemble, Horae Ferales, pi. 22, fig. 6.
2039. FIBULA. Snake-type ; on the bow, four cross-pieces with knobs ; long foot in form of
sheath, ending in a knob. Length 4! in. Blacas Coll., 1867.
2040. FIBULA. Snake-type, as No. 2036. Length 7! in. Hamilton Coll. Foot injured ;
pin wanting.
2041. FIBULA. Snake-type, as last. Length 6 in.
2042. FIBULA. Snake-type, as before. Ht. 3f in.
2043. FIBULA. Snake-type, as before ; on the bow, incised patterns. Ht. 4| in.
2044. FIBULA. Snake-type, as before ; on the bow, finely-incised chevron patterns. Ht. 3J in.
2045. FIBULA. Variety of snake-type, perhaps intended for the figure of a bird, but very rude.
Length 2| in. Pin wanting.
2046. FIBULA. Variety of snake-type ; on the bow, two cross-pieces, and the end nearest the
foot is formed like a ladder, with wire cross-pieces, the sides converging at the foot. Length
2\ in. Castellani, 1872.
FIBULAE. 297
2047. FIBULA. Variety of snake-type ; incomplete. On the bow are two projections ending
in knobs ; at the head a rude figure of a bird is attached. Length 2| in. Towneley Coll.
2048. FIBULA. Variety of snake-type ; bow flat and broad, with a small cross-piece and four
conical knobs on either side ; no spiral ; the foot ends in a knob. Length 3 in. Payne Knight
Coll. Pin broken.
2049. FIBULA. As the last, but coarser work. Length 3! in. Three knobs lost on one side.
2050. FIBULA. Variety of snake-type ; on the bow, three pairs of pear-shaped knobs ; at the
head the bow spreads out into an oval form, with concentric incised lines ; foot in form of
sheath, ending in a knob. Length 4f in. Payne Knight Coll. Pin broken.
2051. FIBULA. Variety of snake-type ; on the bow, two knobs ; it forks out into two pieces
which unite again at the head, where there is a cross-piece ending in knobs, but no spiral.
Foot in form of sheath, with chevron-pattern incised. Length 4! in. 1873 (?). Pin lost.
2052. FIBULA. Variety of snake-type ; on the bow, instead of spirals, diamond-shaped pieces
with crosses incised ; the foot ends in a cross-piece to which are attached three bent pieces of
bronze terminating in spirals. Length 7 in. Hamilton Coll. 39.
2053. FIBULA. The bow is double throughout, the upper part concave, with cross-pieces at
the angles ; the pin is bent back and ends at the head in a double button ; the foot has a very
large oval tail-piece, on which is incised a square, with a smaller one at each angle. Length
8 in. From Nola. Presented by A. W. Franks, Esq., 1876. Formerly in the collection of the
Prince di San Giorgio.
2054. FIBULA. Certosa type (see Tischler in Beitr. zur Atithropol. 11. Urgesch. Baycrns, iv.
(1881), p. 56) ; at the head a panel marked with a cross ; semicircular bow continued along top
of foot and turned up in a flat pear-shaped piece. Length if in. Hamilton Coll. Pin lost.
2055. FIBULA. Certosa type ; foot in form of sheath, curled up at the end. Length 2 in.
2056. FIBULA. Certosa type ; thin grooved ring attached to bow ; foot in form of sheath,
terminating in a figure of a small bird ; three projections on bow. Length 3I in. From
Cumae. Castellani, 1872.
2057. FIBULA. Certosa type ; flat bow with stitch-pattern down middle and three dotted
circles towards the head ; pin with hinge. Length 2iin. Presented by General Meyrick, 1878.
2058. FIBULA. Certosa type ; the foot ends in a disc above ; spiral at head in the form of a
twisted loop. Length i| in. From Kertch. Presented by Dr. D. Macpherson, 1856. Pin
wanting.
2059. FIBULA. Certosa type (?) ; foot in form of sheath, and elaborate hinge. Length if in.
From Kertch. Presented by Dr. D. Macpherson, 1856. Corroded.
2060. FIBULA, fragment of, with foot and part of bow, on which are incised patterns. On the
foot is inscribed PER MO LA/I. Length 2 in. Castellani, 1872.
2061. FIBULA. La Tene type (?) ; wide hinge formed of a spiral, to which the pin is separately
attached ; in the centre of the bow is a small block, from which the bow parts into two, one
piece being attached to either end of the foot. Length 3! in. 1850.
2062. FIBULA. La Tene type (?) ; spiral hinge ; triangular foot with open work ; on the bow,
a raised wavy line. Length 4x in. From Torre Annunziata. Bequeathed by Sir W. Temple,
1856.
2063. FIBULA. La Tene type (?) ; broad hinge, as last but one ; instead of a bow, two broad
flat pieces, the upper one inserted in the lower. Length 3! in. 1855. Much injured.
298 CATALOGUE OF BRONZES.
2064. FIBULA. The bow is nearly rectangular, the upper part concave with a spiral at either
end ; it is ringed as if in imitation of twisted wire ; small hook for foot, and thick pin with a
large knob at the head. The bow is inserted in a socket in the head, which is square. Length
4J in. Payne Knight Coll. Foot broken. Cf. No. 2021.
2065. FIBULA. Bow more or less as last, but plain ; on the pin are seven rings. Length^in.
2066. FIBULA. The bow is formed of a succession of spiral twists, with a large one at the
head ; wide spreading foot ; in shape the bow resembles the two last. Length 6-j in. Blacas
Coll., 1867.
2067. FIBULA. Semi-circular bow ; long piece attached to the font, ending in a button, round
which is a cylinder of some substance. Length 2| in. Payne Knight Coll.
2068. FIBULA. As the last ; the bow is flat with a central ridge. Length 2} in. Castellani, 1872.
2069. FIBULA. As the last. Length 2 J in.
2070. FIBULA. As before; the bow ribbed ; foot in form of sheath. Length 3! in. Payne
Knight Coll.
2071. FIBULA. As the last ; bow moulded longitudinally.
Length 3^ in.
2072. FIBULA. As before; on the bow, bead-mouldings;
the central part is flat, with chevron patterns. Length 3! in.
Bequeathed bv Sir W. Temple, i8;6. v- v
1 - r > J Jbig. 37 = Mo. 2071.
2073. FIBULA. As before. Length 3i in. Payne Knight Coll.
2074. FIBULA. As before. Length 3 J- in. From Ruvo. Bequeathed by Sir \V. Temple, 1856.
2075. FIBULA. As before ; on the foot, chevron patterns and swastika incised. Length 4f in.
Payne Knight Coll. Kemble, Horae Ferales, pi. 22, fig. 9.
2076. FIBULA. Semi-circular bow; a large piece of coral is attached to it. Length 2^ in.
From Cumae. Castellani, 1872. The fibula is very small.
2077. FIBULA. Elliptical bow ; a large piece of amber is attached to it. Length 4^ in. From
Torre Annunziata. Bequeathed by Sir W. Temple, 1856.
2078. FIBULA. Elliptical bow, on which is strung a piece of amber between two pieces of
bone (?) ; foot in form of sheath. Length 2 £ in. From Ruvo Bequeathed by Sir W.
Temple, 1856. An early type, found in Villanova tombs about 750 B.C.
2079. FIBULA. Elliptical bow, on which are a large piece of amber and a small spiral of wire.
Length 4J in. Hamilton Coll. 32. Pin and foot lost.
2080. FIBULA. The upper part of the bow is formed of two arches, on the top of which
are moulded and incised ornaments ; at either end of the arches are knobs. Length 2^ in.
Hamilton Coll. 70. Pin lost.
2081. FIBULA. Bow flat above, slightly arched ; ornamented with punctured patterns ; foot
in form of sheath. Length 3! in. Presented by A. W. Franks, Esq., 185 1. Pin lost. Patina.
2082. FIBULA. As the last but one, butEthe top is not flat but ridged ; foot in form of sheath.
Length 3% '"• Hamilton Coll.
2083. FIBULA. Bow leaf-shaped and bent over in a semicircle, flat and thin, with patterns
of incised lines. Length 4! in. Hamilton Coll. 35. Foot broken away.
2084. FIBULA. T-sh;qx:d, with plain ribs. Length 2« in. From Lyons. Roach-Smith
(Oil.. [856.
FIBULAE. 299
2085. FIBULA. T-shaped, with hinge and triangular foot with open work; on the bow are
ribs, and at the head a lion's mask between two volutes. Length 2} in. Comarmond Coll.,
185 r. Pin broken.
2086. FIBULA. T-shaped, with thick spiral hinge and thick cross-ribs on the bow ; the foot is
ring-shaped, the top flat and round, like a saucer, with a hole pierced. The bow ends at the
foot in a rude tortoise's head. Length 3 in. Towneley Coll.
2087. FIBULA. T-shaped ; bow like a spoon with moulded handle (the bowl towards the
head) ; cross-piece with large spiral. Length 4 in. Castellani, 1872. The fibula is coated
with silver.
2088. FIBULA. T-shaped; cross-piece at head with hinge ; bow flat, with a large disc attached,
ornamented with a rosette-pattern. Length 3! in. Bequeathed by Sir W. Temple, 1856.
2089. FIBULA. As the last, but better work ; on the back is inscribed, VLATI. Length 4 in.
Obtained by A. W. Franks, Esq., i860, at Lyons (?).
Fig. 38 — No. 208 j. Fig. 33 = No. 2089.
2090. FIBULA. Roman ; instead of a bow, a nearly heart-shaped disc, incised with various
patterns ; at the head, a broad hinge. Length i| in. From Lyons. Roach-Smith Coll., 1856.
2091. FIBULA. T-shaped, as No. 2088 ; broad hinge ; bow and top of foot flat, with grooves ;
on the bow, a disc with perforations round the centre. Length i}_ in. From Burgundy. 1850.
2092. FIBULA. As the last, with a grooved connecting-piece between the hinge and the centre
of the bow ; the disc is lost, but has been fixed on a diamond-shaped piece. Length 2 in.
Hamilton Coll. 103.
2093. FIBULA. As before ; instead of the disc a small flat tongue, with Vandyke patterns
punctured. Length 2.\ in.
2094. FIBULA. Variety of T-shape ; atched bow, inlaid with a lozenge-pattern in blue and
red enamel ; at the head, a ring. Length if in. Castellani, 1872.
2095. FIBULA. As the last ; eleven lozenges in blue enamel along the bow. Length 2 in.
Pin lost ; ring at head broken.
2096. FIBULA. As before ; flat bow with bands of concentric circles round it ; the pin works
on a hinge. Length z\ in. Hamilton Coll. 18.
2097. FIBULA. T-shaped, with broad hinge, gilt all over, with incised patterns. Length i| in.
Comarmond Coll., 1851. Foot injured ; pin lost.
2098. FIBULA. T-shaped; bow arched; large foot pierced with a hole ; broad head with hinge
for pin. Length 2\ in. Comarmond Coll., 1851.
2099. FIBULA. Cross-bow type with hinge ; the bow in the middle is moulded into a double
leaf-capital ; at the head, a ring. Length 2± in. Hamilton Coll. 69. Dark green patina.
;oo
CATALOGUE OF BRONZES.
Fig. 40 = No. 2103.
2100. FIBULA. Cross-bow type ; the bow is sharply curved and ends in a sort of sheath which
holds the pin ; at the head is a gilt knob, and along the top of the bow and foot is a gold thread
with a row of small gilt knobs along it. The pin works
in a groove in the cross-piece. On the curved part of
the bow are maeander- and wave-patterns, gilt. Length
2 in. Alexandretta, 1894. Pin lost. Cf. Beitr. zu
Anthr. u. Urgcsch. Bay ems, iv. (1881), pi. 6, fig. 47.
2101. FIBULA. As the last, but with less gilding.
Length 2~ in. From excavations at Civita Lavinia.
Presented by Lord Savile, G.C.B., 1892.
2102. FIBULA. Cross-bow type; semi-circular bow, with one vertical and two lateral large
knobs ; foot in form of sheath, terminating in a sort of screw. Length 4? in. Payne Knight
Coll.
2103. FIBULA. Cross-bow type ; the bow is sharply curved and ends in a sort of sheath which
holds the pin, ornamented with a band of chevrons between two rows of dotted circles. The
pin has a large head and is pierced immediately below ; it is not attached to the cross-piece,
but passes through a groove in it. The upper part is gilt all over. Length 3J in. From Ruvo.
Bequeathed by Sir W. Temple, 1856.
2104. FIBULA. Cross-bow type ; the foot (in form of sheath) and the cross-piece end in large
knobs. Length 3 in. Hamilton Coll. 54. This fibula approximates to the " kite "-type {v.
supra), and has a spiral at the head.
2105. FIBULA. Cross-bow type ; foot in form of sheath ; knobs as on last ; the pin works on
a hinge. Length 2^ in. Castellani, 1872.
2106. FIBULA. Cross-bow type ; thin flat-sided bow ; foot in form of sheath, with engrailed
edges and incised patterns. Length 3^ in. Hungary, 1868 ; purchased of Dr. Romer of Pesth.
2107. FIBULA. As the last ; along the edge of the bow, bead-moulding ; the head and foot
are elaborately moulded. Length 3 in. Comarmond Coll., 185 1.
2108. FIBULA. As before ; the foot ends in an upright piece with moulded discs. Length 2 in.
Ht. 1 1 in. Patina ; possibly modern.
2109. FIBULA. On the head are three knobs ; the bow is flat and ends in a moulded piece,
bent round to form a sheath-like foot, at the end of which is a support for the middle of the
bow. Length 3 in. Blacas Coll., 1867. Pin lost.
2110. FIBULA. The bow is a long thin flat piece turned up at each end (broken at the head),
with a rosette and a cross-piece attached ; at the foot is attached the head of a duck (silver-gilt),
riveted on. The pin springs from a spiral. Length 6| in. Castellani, 1872.
2111. FIBULA. Roman type ; flat bow, gilt, with five rows of studs and raised ornaments at
each end ; pin with spiral at head. Length 3J in. Castellani, 1872.
2112. FIBULA. Roman type ; on the bow, a central knob and two each side, and on the curved
part near the head a rosette. Foot flat above, with three knobs ; pin with spiral. The rosette,
two of the knobs and the Hat part of the foot are silver-gilt. Length 2 in. Castellani, 1872.
2113. FIBULA. Late type (Roman) ; at the head a wide
hinge of spirals ; triangular foot with open work. Length
34 in. From Etaples, Pas de Calais. Roach-Smith Coll.,
1856.
2114. FIBULA. Roman; wide hinge ; two holes in the foot.
Length 2\ in. From Mayence. Roach-Smith Coll., 1856.
Fig. 41
FIBULAE.
30I
2115. FIBULA. Bow straight from foot and curving downwards to the head with a disc at the
highest point. Length 2% in. From Lyons. Roach-Smith Coll., 1856.
2116. FIBULA. Bow divided into four ; cross-piece at head for hinge ; one of the divisions is
grooved. Length i\ in. From Lyons. Roach-Smith Coll., 1856. Pin broken.
2117. FIBULA. Semi-circular bow, grooved ; a hinge instead of a spiral ; the foot ends in a
knob. Length i\ in. From Lyons. Roach-Smith Coll., 1856. Pin lost.
2118. FIBULA. As the last ; on the back of the hinge is an inscription : MICISSAIL or
LVCISSAIL. Length \\ in. Found in the Saone, Lyons. Comarmond Coll., 1851.
2119. FIBULA. As before ; inscribed : I VG I SVA (?). Length if in. Blacas Coll., 1867.
2120. FIBULA. As the last three ; bow with central ridge ; foot in form of sheath, ending in a
knob. A saucer-shaped object is attached to the pin. Length i\ in. Hamilton Coll.
2121. FIBULA. Semi-circular bow, with a hinge instead of a spiral at the head ; foot ending
in a knob, turned up at the end. Ht. if in. From Salona. Presented by C. West, Esq., 1880.
Pin broken.
2122. FIBULA. Semi-circular bow, gilt, with raised wavy line along the middle ; the pin works
on a hinge. Length if in. Payne Knight Coll.
2123. FIBULA. Small short bow ending in a disc at the lower end; flat foot with a sort of
hook below ; at the head, a ring ; the pin works on a hinge. Length if in. Payne Knight
Coll.
2124. FIBULA, with arched bow and spreading flat foot ; on the bow, an incised loop-pattern.
Length if in. From Etaples, Pas de Calais. Roach-Smith Coll., 1856. Pin and hinge lost.
2125. FIBULA in imitation of tortoise, with punctured patterns on bow; the pin works on
a hinge. Length \\ in. From Etaples, Pas de Calais. Roach-Smith Coll., 1856.
2126. FIBULA. As the last ; on the bow either side is a groove, and in the middle are three
lozenge-shaped panels, two red and one green, with beading above and below. Length if in.
Castellani, 1872.
2127. FIBULA. As the last ; between two wavy lines a pattern of zigzags in red enamel.
Length 1 in. Castellani, 1872.
2128. FIBULA. As before; between two raised wavy lines, three
panels which have been inlaid with enamel. Length 1^ in.
Castellani, 1872. Pale green patina ; pin broken off.
2129. FIBULA, in the form of a rude figure of a man on horseback,
wearing a peaked cap ; the bow forms the back of the animal, the
head its hind-legs, and the foot its fore-quarters. Length 7 in.
Hamilton Coll. 27. Pin broken. Fig. 42 = No. 2128.
2130. FIBULA, in the form of a Centaur in flat relief, to r., with
arms raised ; pin at the back with spiral hinge, passing through a loop. Length if in.
Presented by General Meyrick, 1878.
2131. FIBULA, in the form of a lion, the hind feet resting on the hinge ; between the fore paws
a mask of an ox (?) ; on the top of the foot a flat piece; gilt all over. Length i| in.
Comarmond Coll., 185 1. Pin lost.
2132. FIBULA, in the form of a seated lion ; rather rude. Length l| in. Pin lost.
302 CATALOGUE OF BRONZES.
2133. BROOCH, in the form of a female panther reclining to r. ; on the body, green enamel
spots. Length \\ in. Castellani, 1872. Hind legs and tail lost ; also pin.
2134. BROOCH, in the form of a female panther ; as the last ; green and blue enamel spots
on body. Length if in. Castellani, 1872. Pin lost.
2135. BROOCH, in the form of two lion's heads joined back to back ; below them, two bull's
heads (?), each resting on a cross-piece. Length 1 \ in. Hamilton Coll. 192. Pin lost.
2136. BROOCH, in the form of a horse ; on the body, which is silvered all over, four spots of
red enamel ; all four legs are shown. Length \\ in. Hamilton Coll. 97. Pin 1 ,st.
2137. BROOCH, in the form of a horse ; on the body, concentric circles, and dots round the
edge. Length if in. Hamilton Coll. 99. Pin lost. Yellow patina.
2138. BROOCH, in the form of a horse ; all four legs shown ; mane indicated by featherings ;
on the withers a cross is incised, and dots all round the edge. Length 2 in. Hamilton Coll. 98.
Pin lost ; rather corroded. Possibly modern.
2139. BROOCH, in the form of a donkey (?) ; on the body, concentric circles ; fore legs bent as
if kicking. Length 1^ in. Rather rough work.
2140. BROOCH, in the form of a rabbit running ; has been inlaid with enamel; the eye in
black. Length \\ in. Towneley Coll. Cf. Babelon and Blanchet, Bronzes de la Bibliotlicqne
Na/iojiale, Nos. 1754-1757.
2141. BROOCH, in the form of a pigeon, with wings spread. Length i-| in. Castellani, 1872.
Pin lost.
2142. BROOCH, in the form of a pigeon with large tail ; pin
with spiral. Length i| in. Hamilton Coll.
2143. BROOCH, in the form of a pigeon ; as the last ; seven
concentric circles on the tail. Length if in. From Torre
Annunziata. Bequeathed by Sir W. Temple, 1856.
2144. BROOCH, in the form of a pigeon, as before ; wings F-7~ _ No g
spread ; punctured patterns on wings and tail. Length 1 f in.
Hamilton Coll.
2145. BROOCH, in the form of a pigeon, as before (large tail, wings not spread). Length if in.
Hamilton Coll. Pin lost.
2146. BROOCH, in the form of a pigeon ; as last, but more indication of feathers. Length
if in. Hamilton Coll. 90.
2147. BROOCH, in the form of a pigeon ; as before. Length i| in. Piu lost.
2148. BROOCH, in the form of a pigeon ; as before. Length 1^ in. Castellani, 1872.
2149. BROOCH, in the form of a bird ; wings and markings of feathers indicated ; the pin
works on a hinge. Length if in.
2150. BROOCH, in the form of a pigeon, the body inlaid with red enamel, the wings with rows
of green dots. Length if in. Castellani, 1872. Pin lost.
2151. BROOCH, in the form of a pigeon, with markings of dotted lines. Length ijin. From
Etaples, Pas de Calais. Roach-Smith Coll., 1856.
2152. BROOCH, in the form of a bird with wings spread ; at the back is a pin with hiage and
hook like a modern brooch. Length il in. Presented by General Meyrick, 1878.
2153. BROOCH, in the form of a bird in relief; spiral hinge. Length 1] in. Castellani, 1872.
Pin lost.
BROOCHES. 303
2154. BROOCH, in the form of a dolphin ; pin with hinge below ; tail twisted up on the back ; in
the mouth is a ball (?). Length 2 in. Found near Rome ; acquired 1890 (Rev. G. Chester).
Corroded.
2155. BROOCH, in the form of a fish ; on the body, three bars of blue on a panel ; the eye is
also represented in blue enamel. Length i£ in. Tin lost.
2156. BROOCH, in the form of a fish, the head in high relief, looking up ; on the body, circles
in green enamel. Length ij in. Pin lost.
2157. BROOCH, in the form of two dolphins side by side, the heads attached to a cross-bar.
Length 1 -| in. Millingen Coll., 1847. Bin lost.
2158. BROOCH, in the form of a Hippocamp ; three circles on the body ; the tail in red enamel.
Length 2 in. Towneley Coll. Pin lost.
2159. BROOCH, in the form of a butterfly, with twelve dots on each wing ; in the middle of the
body is a sort of cross in red, the rest being green. Length 2 in. Castellani, 1872. Pin lost.
2160. BROOCH, representing an insect of some kind (?). Length 1 \ in. Hamilton Coll. Pin
lost.
2161. BROOCH, in the form of a monster with Gryphon's head and fish-body on which are three
circles in orange enamel ; slightly forked tail. Length i\ in. Pin lost.
2162. BROOCH. Resembling tortoise-type (2 1 25-2 1 28) ;
bow triangular, with vandyked pattern of gilt bronze
alternating with red and green enamel, surrounded by a
raised wavy line : foot in form of the head of a tortoise.
Length i| in. Castellani, 1872. Gilt all over.
2163. BROOCH. On the bow a disc with central knob,
with outer ring of dark red ; hinge with cross-piece ; on Flg- 44~ No- 2l62'
the foot, a flat triangular piece, which has been inlaid
with triangles of dark red and green enamel. Length if in. Castellani, 1872.
2164. BROOCH. Flat, semicircular head ; arched bow with cross-piece ; on the foot, a disc
with milled edge and blue centre, on which is a black cross on green ground. Length if in.
2165. BROOCH. On either side a disc with centre of yellow enamel. Length if in. From
Burgundy ; purchased 1850. Pin lost.
2166. BROOCH. The central part ha? been inlaid with enamel in the form of a Boeotian
shield ; on one side is a disc, and at the foot a knob ending in a face. Length 1 1 in. From
Burgundy ; purchased 1850. Pin lost.
2167. BROOCH. In the centre, a diamond, with chequer pattern of red and green enamel.
Length 2I in. Castellani, 1872. Pin lost.
2168. BROOCH, as No. 2i65, with a sort of bird's tail at the head on which are three dotted
circles ; in the middle, a circle with five dotted circles in the form of a cross ; ail inlaid in
enamel. Length z\ in. Hamilton Coll. 155. Pin lost.
2169. BROOCH, as the last ; in the middle, a square of green enamel with red centre, sur-
rounded by eight dotted circles. Length if in. From Corfu. Woodhouse Coll., 1868. Pin lost.
2170. BROOCH. In the middle a raised knob inlaid with enamel ; at each end a triangular
piece inlaid with a pattern of triangles in orange, white, and black. Length i| in. Pin lost.
2171. BROOCH of diamond shape, inlaid with four concentric circles in white and red on blue
ground. Length if in. Castellani, 1872. Pin lost.
304
CATALOGUE OF BRONZES.
Fig. 45 = No. 2173.
2172. BROOCH, in shape an elongated hexagon, the centre of red enamel, with a border of
white on which are small blue squares in outline ; outer border of blue, with small white circles.
The pin is bent downwards in the middle. Length if in. Purchased at Rome by A. W.
Franks, Esq., 1857.
2173. BROOCH. Central disc with knob, on which
is a blue cross ; round it a ring of orange and
white, and another of dark red with blue squares ;
at each end an ornamental projection inlaid with
dark red, green, and orange enamel. Length 2f in.
CasteUani, 1872. No pin.
2174. BROOCH, in the form of a rosette of six
points, with a knob at the end of each ; the part
surrounding the central boss is inlaid in blue.
Diam. 2 in. CasteUani, 1872. Pin lost.
2175. BROOCH, in the form of a rosette of twelve points, with concentric circles, inlaid in
green enamel. Diam. if in. CasteUani, 1872. Pin lost.
2176. BROOCH, in the form of a circle with a quatrefoil in the centre inlaid in red enamel.
Length if in. CasteUani, 1872.
2177. BROOCH, circular, with patterns inlaid in blue, yellow, and white enamel. Diam. if in.
Purchased in Rome, 1857. Pin lost.
2178. BROOCH, in the form of a flower of six peta's, the centre green, and on each petal a
green spot with black centre. Diam. if in. From France or Germany ; purchased 1852.
Possibly modern.
2179. BROOCH, in the form of a rosette of six points, inlaid with green enamel on red ground.
Diam. if in. CasteUani, 1872. Pin lost ; enamel much worn away.
2180. BROOCH. In the centre are a blue ring and an orange ring with blue circles ; round
these blue and white squares alternating, with red triangles between ; in each square and triangle
is a green spot. Length if in. Diam. f in. From France or Germany ; purchased 1852.
2181. BROOCH, in the form of a large stud, without pin, with elaborate patterns in red, white
and blue enamel ; in the centre, diaper, formed of white chequer squares on blue and blue and
white chequer squares with red border, round which is a ring of red and white rosettes on blue
ground, and another ring of alternate red and white rosettes on blue squares, and red and
blue rosettes on white squares. Diam. if in. From Vaison, Vaucluse, France. Comarmond
Coll., 185 1. For the process employed in this kind of ornamentation, see Fontenay, Les Bijoux
anciens, p. 345.
2182. BROOCH, like a stud with double back, ornamented on the top with rays alternately
orange, white, and a colour now lost. Diam. f in. CasteUani, 1872.
2183. BROOCH, in the form of a rosette of eight points, each terminating in a knob ; the centre
is green, with spots of some other colour, the outer part orange. Diam. \\ in. Pin lost and
three knobs broken off.
2184. BROOCH, circular, with alternate panels of blue and
white ; six knobs attached of dark red colour. Diam. if in.
From Sainte Helene, Lyons. Comarmond Coll., 1851. Tin lost.
2185. BROOCH, more like a fibula, of a conical shape, the top
red, with six knobs attached, two white, two yellow, two blue.
Length \\ in. CasteUani, 1873. Pin well preserved.
Fig. 46 = No. 2185.
BROOCHES.
305
Fig. 47 = No. 2186.
2186. BROOCH, in the form of a wheel of six spokes, with large axle on which arc panels of
blue and dark red enamel ; the spokes are leaf-shaped and of blue enamel. The felloe is dark
red with alternate squares of plain blue, and
blue and white chequers. Diam. 2^ in. No
pin. For the process, see Fontenay, Bijoux
anciens, p. 345.
2187. BROOCH, in the form of awheel of
four spokes, the felloe of alternate squares
of blue with a white dot, and of black with
a yellow dot ; round it are eight knobs in
orange, mostly broken away. Diam. \\ in.
From Rome. Presented by A. W. Franks,
Esq., C.B., 1891. No pin.
2188. BROOCH, in the form of a wheel of
eight spokes, with border of red and white
rosettes on blue ground. Diam. if in.
Castellani, 1872.
2189. BROOCH. In the centre, a wheel
(solid background) surrounded by rays,
between which the ground is filled in a'ter-
nately with red and blue enamel ; round the rim are four projections. The pin is complete.
Length 2| in. Castellani, 1872.
2190. BROOCH. The centre is green with white spots, with a border of white rosettes on blue
ground, alternating with blue crosses on white ground with red border. Diam. 1 in. Castel-
lani, 1872. Pin lost ; enamel much worn.
2191. BROOCH. In the centre is a knob inlaid with blue enamel, surrounded by alternate
white squares with blue rosettes (red centres), and red squares with chequers of blue and red on
white. Diam. if in. Castellani, 1872. No pin.
2192. BROOCH, in the form of a diamond surrounded by eight discs with concentric circles ;
it is divided by bead-mouldings into four squares, which have been inlaid with dark red
enamel. Diam. if in. Castellani, 1872.
2193. BROOCH, in the form of a diamond with ornaments at each angle, incised with concentric
circles ; in the centre, diaper pattern of chequer squares in red, white, and blue ; central disc
of green with white centre. Length \\ in. Castellani, 1872. Two pieces broken away.
2194. BROOCH, in the form of a diamond, as the last but one ; the centre has been inlaid with
white enamel. Length ii in. From Etaples, Pas de Calais, France. Roach-Smith Coll.,
1856.
2195. BROOCH. Circular, with four trefoil attachments, inlaid with a blue cross on dark red
ground. Diam. \ in. Castellani, 1872. Pin lo_-t.
2196. BROOCH. In the middle, concentric circles, blue and yellow ; at each end an ornament
inlaid with red and blue enamel (colours faded). Length \\ in. From Aix, Provence. Roach-
Smith Coll., 1856.
2197. BROOCH. Nearly square, with four projections ; in the centre a large bead of green
glass paste. Diam. \ in. Castellani, 1872.
2198. BROOCH, in the shape of a four-spoke wheel (convex) ; the axle has an orange centre.
Diam. 2 in. From Lycia. Presented by Sir Charles Fellows, 1851. The rim is broken in
one place.
X
306 CATALOGUE OF BRONZES.
2199. BROOCH, diamond-shaped, with hole in centre, and tail-piece ; on it are eight circles,
alternately red, and blue with white centre. Length i| in. From Burgundy ; purchased 1850.
Injured ; enamel rather worn.
2200. BROOCH, as No. 2186. The axle of the wheel is orange on the top, and is surrounded by
a green ring with black dots with white centres ; round this are six leaf-shaped spokes inlaid
with blue. On the outer ring is a band of dark red enamel (much worn) on which are black
squares with rosettes ; at the head is a ring ; the pin is complete. Diam. 2^ in. From France
or Germany ; purchased 1852.
2201. BROOCH, in the form of a wheel of six spokes ; the centre has been inlaid with enamel.
Diam. 1^ in. From the Rhine, 1855.
2202. BROOCH, in the form of a disc to which six knobs are attached, all inlaid with blue
enamel; on the centre is another knob, also blue. Diam. i£ in. From the Rhine, 1855.
Enamel worn.
2203. BROOCH, of which only the central diamond remains ; it is inlaid with a gilt rosette of
six points and gilt border on red ground. Diam. 1 J in. From the Rhine, 1855.
2204. BROOCH. Circular, with patterns in gilt on the top, the rim silvered all round.
Diam. I in. From the Rhine, 1855. Much worn.
2205. BROOCH, in the form of a diamond, as No. 2193. Length i| in. From the Rhine, 1855.
Cf. Roach-Smith, Collect. Antiqua, iv. pi. 25, fig. 3. Enamel in centre worn away.
2206. BROOCH, in the form of a diamond, silvered over, with knobs at the angles (at the end
a double one), and a knob in the centre. Length \\ in. From Salona. Presented by C.
West, Esq., 1880. Much corroded ; one end broken.
2207. BROOCH. In the middle, a diamond, inlaid half in dark red, half in yellow enamel ; at
the head, a cross-piece. Length i| in. Comarmond Coll., 1851.
2208. BROOCH. In the middle is a large disc, gilt all over, with a border of tendrils ; in the
centre of it is a design in low relief of a large bird to 1. seizing a fish in both claws. The pin is
complete. Diam. i| in. Castellani, 1872. Nearly half of the disc is broken away.
2209. BROOCH. The central part is in the form of a buckle ; on the foot is a broad flat piece
on which is a cross crosslet inlaid in red and blue enamel ; on either side is a vandyked pattern
in red and green. Length i-jj in. From Burgundy ; purchased 1850.
2210. BROOCH. Inlaid with four leaves in red, with silver borders on dark green ground.
The pin is complete. Length 1^ in. From Rome. Presented by A. W. Franks, Esq., C.B., 1891.
2211. BROOCH, with central piece as No. 2126 ; between two hollow grooves, three panels, two
green and one dark red. Length 2|in. From Rome. Presented by A. W. Franks, Esq., C.B.,
1891. Pin complete.
2212. STUD, forming a solid wheel of five spokes inlaid in greenish-blue enamel. Diam. \ in.
From Rome. Presented by A. W. Franks, Esq., C.B., 1891.
2213. STUD, with two circles of enamel, the inner orange, the outer, dark red squares on drab
ground. Diam. f in. From Rome. Presented by A. W. Franks, Esq., C.B., 1891. Ground
of outer ring nearly all worn away.
2214. STUD with double backing, in the form of a four-leaved flower, each petal inlaid with
dark blue enamel. Diam. \ in. From Rome. Presented by A. W. Franks, Esq., C.B., 1891.
Enamel much worn.
2215. STUD with double attachment ; a ring attached to the top. On the top are alternate
red circles and white rings on a blue ground. Diam. \ in. Castellani, 1872.
SEAL-BOXES. 307
2216. STUD, with ring at one end ; inlaid with a diamond of white and black on blue ground.
Diam. § in. Purchased at Rome, 1857.
2217. STUD, inlaid with a cross on orange ground, surrounded by a ring of blue and white.
Diam. J in. Castellani, 1872. Enamel much worn.
2218. STUD, inlaid with patterns of orange and light green. Diam. jj in. From Mayence.
Roach-Smith Coll., 1856. Enamel much worn.
2219. PENDANT in the shape of a crescent, inlaid with red, white, and blue enamel, much
worn. Length i{ in. From Rome. Presented by A. W. Franks, Esq., C.B., 1891.
2220. PENDANT in the shape of a crescent, inlaid with panels of green and orange. Length
1^ in. Much worn.
2221. PENDANT, crescent-shaped, with a white heart inlaid on a blue ground, and scroll-
patterns in bronze ; in the middle is a projecting piece with cusps. Ht. i| in. Purchased at
Rome, 1857.
2222. STUD (?) ; probably part of a brooch. Has been inlaid with enamel in concentric rings,
only the outer one (of dark red) preserved; in the middle is a hole. Diam. 1] in. From
Rome. Presented by A. W. Franks, Esq., C.B., 1891.
2223. BUCKLE, of horse-shoe shape, with cross-bar working on a swivel and tongue perforated
with three holes at the broad end ; the curved part ends in two dolphins' heads turned back ;
on it are snakes or tendrils in low relief on either side of a child's head to the front. Ht. 2 in.
Length 2 in.
2224. BUCKLE. Shape as the last, but the cross-bar and tongue are lost. The curved part
ends in two rams' heads bent back, and on it are two small knobs and incised markings.
Ht. 2{ in. Length 2~ in.
II. SEAL-BOXES (2225-2242).
2225. SEAL-BOX (?) cf oval shape, with three holes in the bottom ; on the lid is a relief of
Aphrodite (?) to r., wearing a girdle ; she holds a helmet in r. hand, and in 1. a spear from which
hangs a shield by a strap (?). Length 1 in. Towneley Coll. On these objects, see Fi iederichs,
Kleinere Kunst und Industrie, p. 137 ; and Numismatic Chronicle, xvii. (1897), p. 29+.
2226. SEAL-BOX, circular. Diam. | in. Presented by A. W. Franks, Esq., C.B., 1890.
2227. SEAL-BOX, circular ; on the top a frog in relief. Diam. | in. Presented by A. W.
Franks, Esq., C.B., 1890.
2228. SEAL-BOX, square, with oval lid, on which is a head of Domitia in relief to 1., with
long hair tied behind, possibly a cast from an ancient gem. Length -g- in. From Rome.
Presented by A. W. Franks, Esq., C.B., 1891. The box is much broken and corroded.
2229. LID OF SEAL-BOX, oval, with relief of head of Vespasian to 1., wearing paludamentum
and cuirass. Length \ in. Towneley Coll.
2230. LID OF SEAL-BOX, oval, with relief of head of Athene to r., wearing helmet. Diam.
I in. Purchased at Rome, 1857.
2231. LID OF SEAL-BOX, oval, with relief of head of Hermes to r., with caduceus ; he wears
a winged petasos (?). Diam. 1 in. Towneley Coll.
2232. LID OF SEAL-BOX (?). Pear-shaped ; inlaid with a heart- shaped pattern in dark red.
Length \\ in. From Rome. Presented by A. W. Franks, Esq., C.B., 1891. Rather worn.
X 2
loS
CATALOGUE OF BRONZES.
2233. SEAL-BOX. Pear-shaped j three holes in the bottom; ring at lower end; loose lid,
inlaid with patterns in white and blue. Length \\ in. Townelcy Coll.
2234. SEAL-BOX. Pear-shaped; pattern as last but one. Length if in. Castellani, 1872.
Enamel worn away, except in the centre.
2235. SEAL-BOX. Pear-shaped ; three holes in bottom. Ornamented with a circle of black
and white, round which is a band of red spots with white centres on green ground ; below, a
triangle of dark red. Length l| in.
2236. SEAL-BOX. Pear-shaped ; inlaid with patterns of orange, crimson, and white. Length
1 in. Castellani, 1872. Much worn.
2237. SEAL-BOX. Pear-shaped ; on a white ground, a broad cross in dark red. Length i{ in.
Castellani, 1872. Enamel on cross much worn.
2238. SEAL-BOX, lid of. Pear-shaped ; above, a vertical panel of yellow between two of blue ;
on each blue panel is a circle of white, black, and yellow. Length 1^ in.
2239. SEAL-BOX, lid of, in the form of a diamond ; in the centre a blue circle, and round the
edge, a border of blue ; the rest, rose-pink. Length 2$ in. Purchased in Rome, 1857.
2240. SEA.L-BOX, circular ; inlaid with an orange circle, the centre green and black; round
this is a blue ring on which are black circles. Diam. | in. Castellani, 1872.
2241. SEAL-BOX, circular ; the enamel is all worn away. Diam. f in. Castellani, 1872.
2242. LID OF SEAL-BOX, circular; on it is a spread eagle in relief. Diam. J in. From
Curium, Cyprus ; excavated under the Turner bequest, 1895 (tomb 73). Cf. Schumacher,
Bronze n zu Karlsruhe, No. 199.
III. RINGS (2243-2312).
2243. MEDALLION. Oval in shape ; on one side, in intaglio, bust of Antoninus Pius laureated
to r. ; on the other, in relief, a Nereid riding on a Hippocamp to r., clinging on to its r. shoulder :
she wears a fillet, and himation over her lower limbs. Length \\ in. Has been set on a swivel
in a rine.
Fig. 48
= No. -'243 —
Fig. 4>-
50 = No.
2244. MEDALLION with intaglio design of a bust of Athene to r., with wavy locks, wearing
chiton and aegis with Gorgoneion ; on her head is a crested helmet, modelled in the form of
the head of a bearded Satyr ; on the side of the helmet is a Triton to r., blowing a conch held
in 1. hand, and holding up some object in r. The crest of the helmet appears to be in the form
of a lizard. lit. [fin. Smyrna, 1S8S.
RINGS. 309
2245. PENDANT, with dark- coloured paste setting representing Athene in Promachos-attitude
to 1. ; she wears helmet and long chiton with apoptygma, and wields shield and spear. Ht. \\ in.
Hamilton Coll. 1 1 1.
2246. RING of gilt-bronze with broad bezel, in which is set a dark red paste intaglio, with head
of Athene to 1., wearing crested helmet. Diam. §- in. Castellani, 1872.
2247. RING with circular bezel, bronze-gilt, with intaglio design of Athene (?) seated to the front,
looking to her r., and holding out a Nike on r. hand ; she wears helmet, long girt chiton, and
himation over knees, and has a spear in 1. hand. Diam. 1 in. Castellani, 1872.
2248. RING, as last ; intaglio design of Athene to 1., with long girt chiton, spear in 1. hand, r.
resting on shield. Diam. \ in. Castellani, 1872. Patina; head of Athene nearly obliterated.
2249. RING of gilt bronze, with broad bezel, in which is set a yellow paste intaglio, with an
opaque white band across ; design of youthful Dionysos moving rapidly to 1., partially draped,
with tliyrsos in 1. hand. Diam. | in. Castellani, 1872.
2250. RING with vesica-shaped bezel, on which is an intaglio design of a Seilenos dancing to 1.,
playing the double flute ; on the ground is a tliyrsos tied with a sash. Diam. \ in. Obtained
by C. T. Newton in the East, 1S54.
2251. RING, very thick and heavy, with large oval bezel, on which is a mask of Seilenos.
Diam. i£ in., of design, if in. Very rude.
2252. RING, as the last ; intaglio heads of Hermes in winged pctasos and Seilenos, back to
back. Ht. \\ in. ; length of bezel, \\ in. Hamilton Coll. 220.
2253. RING with broad bezel, set with a green jasper intaglio, representing Helios (?), wearing
radiated cap and chlamys over his arms, 1. hand extended. Diam | in. Castellani, 1872.
2254. RING, with circular bezel, on which is an intaglio design of a
woman or goddess driving a two-horse chariot to r. ; she wears a long
chiton, and her hair (or a sash ?) flies out behind her. In the background
is a fluted column. Diam. | in. 1888. Tart of hoop lost. Design
carefully executed.
2'. 55. RING with carnelian setting, the hoop gilt ; design of a youthful
male deity sea*ed on an altar to I., holding out a sheaf of corn in r. hand,
in 1. a cornucopia. Diam. \ in. Fig. 51 = No. 2254.
2256. RING, with broad bezel and small dark-coloured paste setting,
representing Eros riding to 1. on a dolphin. Diam. Jin. Presented by General Meyrick, 1878.
Hoop broken.
2257. RING with circular bezel, on which is an intaglio design of Eros moving to 1., about to
discharge an arrow from his bow. Diam. \ in. Pulsky Coll., 1868 {Sale Cat. 329). Part of
hoop lost.
2258. RING as the last; intaglio design of Eros playing on the syrinx. Diam. | in. 1853.
Very rude work.
2259. RING, with silver swivel, in which is a scarab of burnt root-emerald, engraved
underneath with the design: neb-mat-ra, the praenomen of Amenophis III. Diam. 1 in.
Amathus, 1894 (Turner bequest).
2260. RING, with broad bezel, in which is set in nicolo an intaglio design of Harpocrates
standing to r., with 1. hand raised to his mouth, r. on hip. Diam. J in. Castellani, 1872.
2261. RING, with busts of Serapis and Isis side by side, the latter on the 1. ; they are
draped, and Serapis has carefully-curled hair and wears a modius : Isis wears an ornamental
crown. Diam. f in. Pulsky Coll., 1S68 (Sale Cut. 330).
3IO CATALOGUE OF BRONZES.
2262. RING with bust of Zeus Amnion attached ; he has ram's horns and a high head-dress,
and wears a chiton. Diam. f in. Bequeathed by Sir W. Temple, 1856. Half of hoop lost.
2263. RING with bust of Serapis, as the last. Diam. J in. Castellani, 1872.
2264. RING with bust of Serapis rising out of a calyx ; he wears a modius. Diam. J in.
Castellani, 1872.
2265. RING with bust of Egyptian goddess or queen, draped, wearing an ornamental crown.
Diam. f§ in. Castellani, 1872.
2266. RING with oblong bezel, on which is an intaglio design of Capaneus
struck by the thunder-bolt, kneeling and defending himself with shield
and spear ; he wears a crested helmet. Diam. 1 in. 1888. The ring
is bent up. For the subject, see Overbeck, Her. Bildw. p. 126 ff.,
and Roscher, Lexikon, ii. s. v. Kapaneus ; also Brit. Mus. Cat. of Gems,
Nos. 269, 270, 473. F;g. 52 = No. 2266.
2267. RING with oval bezel, in which is set an onyx intaglio, representing a
warrior standing to r. with r. arm resting on a stele, holding out his helmet in 1. hand ; at his
feet is his shield. Diam. \ in. Castellani, 1872. Has been gilt.
2268. RING with bronze-gilt setting, with intaglio design of a warrior to r., armed with helmet,
cuirass of the type known as Kap8io(pv\a^ (see No. 2845), short chiton, spear in r. hand, shield
supported with 1. ; dotted border. Diam. | in. Castellani, 1872.
2269. RING with semi-oval bezel: intaglio design of a warrior (?) walking to r., with short
chiton, and shield on 1. arm. Diam. -| in.
2270. RING with garnet setting, on which is an intaglio design of a figure standing before an
altar, on which is an uncertain object. Diam. | in. Castellani, 1872.
2271. RING with onyx setting, on which is an intaglio design of a man standing to 1. before a
column, with r. foot on raised ground. Diam. § in. Castellani, 1872.
2272. RING with carnelian scarab mounted on a swivel, on which is an intaglio design of a man
seated, wearing petasos, in 1. hand a club (?). Diam. 1 in. Castellani, 1872. Ends of ring
wound round with wire.
2273. RING ornamented with leaves in relief; amethyst setting with intaglio design of a nude
man seated to r., looking back, with arms extended ; before him is a thyrsos. On the 1. is Eros
moving away, holding a torch. Diam. | in. Christy Coll., 1865.
2274. RING with circular bezel, bronze-gilt, with intaglio design of a man moving rapidly to I.,
carrying a crook (?). Diam. \ in. Castellani, 1872.
2275. RING with two figures, confronted in low relief on the bezel ; each holds up something in
r. hand. Diam. Tg in.
2276. RING of gilt bronze, with intaglio design of a youth to 1., with petasos slung at back of
neck, fastening a sandal on r. foot and balancing himself on the 1. Diam. |- in. Castellani, 1872.
2277. RING with setting of nicolo, on which is an intaglio design of a youth to r., with 1. foot
drawn back, holding some object in both hands. Diam. J in. Blacas
Coll., 1867.
2278. RING of gilt bronze with dark-coloured paste intaglio, representing a
nude woman to r., with hands bound behind her back to a tree ; perhaps
Lamia (cf.At/ien. Mittheil. xvi. (1891), pi. 9). Diam. \ in. Castellani, 1872,
Part of the hoop lost. Fig. 5;< - No. 2278.
RINGS. 3 I I
2279. RING with medallion of gold loaf inserted in the bezel, on which is a head of Faustina
the elder to r., in low relief ; hair in the usual style. Diam. £ in. Castellani,
1872. Ring much corroded.
2280. RING with sard setting, on which is an intaglio design of a female
bust to 1., with hair knotted low down on the neck, perhaps an imperial
personage of the Augustan age ; has been gilt. Diam. 1 in.
oooi Fig. 54 = No. 2279.
2281. RING, bezel of, oval-shaped, with intaglio design of a portrait-head to
1., beardless. Length | in. Presented by Rev. Greville Chester, 1888.
2282. RING with head of bearded man in relief to r., on an oval piece of silver inserted in the
bezel. Diam. 1 in. Castellani, 1872.
2283. RING with vesica-shaped bezel, on which is an intaglio design of a bearded head to 1.
Diam. 1 in. Castellani, 1872.
2284. RING, bezel of, oval shaped, with intaglio design of a female head to 1., the hair carefully
arranged, with a curl in front of the ear and three long ones behind, falling from under a fillet ;
drapery visible at the throat. Diam. | in. Pulsky Coll., 1868 {Sale Cat. 327).
2285. RING with crimson paste setting : head of an old woman (?), three-quarters to 1.
Diam. £ in. Castellani, 1872.
2286. RING with vesica-shaped bezel, on which is an intaglio design of a gryllus, in the form
of a bird to 1., with the head of a bearded man. Diam. I in. Greece, 1874. Part of hoop lost.
2287. RING with tragic mask on bezel ; eyes and mouth pierced. Diam. I in. Castellani, 1872.
2288. RING with comic mask on bezel ; mouth open. Diam. J in. Castellani, 1872.
2289. RING with intaglio design on the bezel, of an open left hand. Diam. ^ in. Castellani,
1872.
2290. RING in the form of a broad band, with yellow paste setting; design of Pegasos to 1.
Diam. } in. Castellani, 1872.
2291. RING with intaglio design on bezel : lion running to 1. Diam. 1 in. Castellani, 1872.
2292. RING, bezel of, vesica-shaped, with intaglio design of a lion to 1. devouring a deer, which
it has seized from behind ; in the field, a branch. Length | in. 1888.
2293. RING with oval bezel on which is an intaglio design of a goat to 1., gilt. Diam. I in.
Castellani, 1872. The hoop is grooved on either side of the bezel.
2294. RING with circular bezel, and intaglio design of a rabbit to I., eating a large bunch of
grapes. Diam. 1 in. From Rome. Castellani, 1872. Cable-pattern on hoop.
2295. RING with blue paste setting: eagle's head to 1., holding wreath and palm-branch in
mouth. Diam. ■} in. From Rome. Burgon Coll., 1842.
2296. RING with carnelian setting : crane moving to 1. Diam. 7g in.
2297. RING with vesica-shaped bezel and intaglio design of a swan to 1., with r. leg raised.
Diam. I in. Castellani, 1872.
2298. RING with carnelian setting : two fishes placed in reverse directions. Diam. f in.
2299. RING with circular bezel and paste (imitation sard) setting: design of a lyre, on one
corner of which is perched a bird with something in its mouth ; in the field, two uncertain
objects. Diam. 1 in.
2300. RING with dark blue paste setting: design of an amphora with cover and volute-handles,
- on a high foot. Diam. £ in. Castellani, 1872.
312 CATALOGUE OF BRONZES.
2301. RING with crimson paste setting ; design of a ship, on which is perched a bird to 1.
Diam. f in. Castellani, 1872.
2302. RING with circular bezel and unintelligible intaglio design. Diam. I in. Castellani, 1872.
2303. RING, gilt, with a small conical setting of garnet. Diam. f in. Amathus, Cyprus,
1894 (excavated under the Turner bequest).
2304. RING with silver bezel, in which is a setting of red jasper (?). Diam. 1 in. Amathus,
Cyprus, 1894 (Turner bequest) ; tomb 31.
2305. RING with broad bezel and plain sard (?) setting. Diam. | in. Corroded.
2306. RING with carnelian mount, in the shape of a reel. Diam. 1 in. Castellani, 1872.
2307. RING with yellow-brown paste setting ; intaglio design unintelligible. Diam. f in.
Castellani, 1872.
2308. RING with plain green paste gem in gold setting ; broad bezel. Diam. J in.
Castellani, 1872.
2309. RING with plain onyx setting. Diam. £ in. Hoop broken.
2310. RING with broad bezel; plain brown paste setting. Diam. 1^ in. Presented by Gen.
Meyrick, 1878.
2311. RING of gilt bronze, thick, with setting of burnt nicolo. Diam. 1 ^ in. Bequeathed by
Sir W. Temple, 1856.
2312. RING with large bezel and burnt carnelian (?) setting. Diam. 1 in. Excavated by J. T.
Wood, at Ephesus, 1874. Detached from the hoop ; much corroded and injured.
J1 J
B. SURGICAL AND OTHER INSTRUMENTS
(2313—2382).
2313. CUPPING-VESSEL of the common type, dome-shaped on a narrower base. Ht. 4 in.
From Corfu. Woodhouse Coll., 1868. Lambros, nepl o-ikvcov xdi a-iKvaaaos, p. 10; Bull, de
Corr. Hell. i. (1877), P- 218 and cf. pi. 9. Cf. the stele of Jason in the Brit. Mus. (Cat. of
Sculpture, i. no. 629 ; Brit. Mus. Inscr, 8t), and Deneffe, Trousse dun Chirurgien, p. 60 ff. ;
and for examples of <riK.va on coins, Ephem. Archaeol. 1870, No. 414, p. 355, pi. 54, figs. 6-13,
and Brit. Mus. Coins of Crete, etc., pi. 20, figs. 2, 3 (coins of Aegiale in Amorgos), and Ephem.
Archaeol. loc. cit. figs. 27-30 (coins of Epidauros).
=30
Fig. 55= No. 2314.
2314. SPOON with circular bowl, at one s;de of which is a spout, used for pouring ointment on
to the eye. Length 6£ in. Towneley Coll.
2315. SPOON, as the last. Length 7| in. Orvieto, 1891.
2316. VULSELLA, formed of two pieces riveted together like a pair of scissors, the rivet being
fixed at two-thirds of the length from the ends of the handles ; the teeth are formed by curved
pieces which are bent towards one another with finely-serrated edges fitting together ; in the
lower part of these curved pieces holes are pierced, through which a thread was tied to bind
the edges firmly together. The handles are square in section. Length j\ in. Presented by
General Meyrick, 1878. Deneffe, Trousse dun Chirurgien, pi. 6, fig. 3, p. 54.
2317. VULSELLA, as last ; no holes pierced ; handles ending in knobs, partly inlaid with black
enamel. Length 7 \ in. Towneley Coll. Deneffe, Trousse dun Chirurgien, pi. 6, fig. 6, p. $\.
2318. RETRACTOR AND PROBE,
with moulded handle, and tapering ^^ml— ^ ■"■|P™H|fl|Wte
hooked end. Length 6 in. Blacas ^^-^^
Coll., 1867. Fig. 56 = No. 23I8.
2319. RETRACTOR AND PROBE,
with flat curved end, and handle terminating in a knob. Length 5 in. Comarmond Coll.,
185 1. Corroded.
2320. ARTERY-FORCEPS with curved ends,
finely toothed. Length 4J in. Blacas Coll.,
1867.
2321. ARTERY-FORCEPS, as last, with an Fig. 57 = No. 2320.
ornamental knob at the head. Length 5f in.
Bequeathed by Sir W. Temple, 1856. Ends broken.
2322. TENACULUM, for holding back the edges of the flesh during an operation ; handle
moulded all along ; short straight prongs. Length 4 in. Payne Knight Coll. Prongs broken.
H
CATALOGUE OF BRONZES.
2323. TENACULUM, as last. Handle moulded at ends and in middle ; base of fork also
moulded. Length 8| in. Towneley Coll.
m*gg«l!^tfi3g
58SefcCfiBHS
2324.
2325.
2326.
2327.
2328.
2329.
2330.
Fig. 58 = No. 2323.
TENACULUM, as before. Handle moulded, with two slits in it; very 1 mg prongs.
Length 5 J in. Millingen Coll., 1847.
TENACULUM, as before. Shaped like modern tongs, with pointed
ends. Length 2| in.
TENACULUM, as before, but the prongs diverge ; end of handle
moulded. Length 5! in. From Cyprus. Piesented by D. E. Colnaghi,
Esq., 1866.
SCARIFIER. Hollow socket for insertion of wooden handle ; rough
strong teeth. Length 2| in.
SAW, with small close teeth. Lengih 4! in.
1888.
CURVED BISTOURY, all in one piece. Length 4] in. Pergamon,
Fig. 59 = No. 2327.
KNIFE of small size, all in one piece ; knob at end. Length 3! in. Orvieto, 1891.
Fig. 60 = No. 2333.
Fig. 61 = No. 2331
2331. KNIFE of larger size, all in one piece ; knob at end cf handle. Length 5f in. Orvieto,
1 89 1. Blade jagged.
2332. BISTOURY. Has had an iron blade ; at the other end is a long ridged, spatula-shaped
blade of bronze ; the middle part is of bronze inlaid with silver bands. Length 2] in. Blacas
Coll., 1867.
2333. BISTOURY, as the last; no silver inlaying; spatula shorter and wider. Length z\ in.
Patina.
2334. BISTOURY, as the last. Length 3! in. Towneley Coll.
2335. BISTOURY, as before. Length 3 in. Presented by General
Meyrick, 1878. *"g- °2 = No- 2333-
2336. BISTOURY, as before. Length 3.I in.
2337. BISTOURY, as before ; long haft. Length 4] in. Presented by General Meyrick, 1878.
2338. BISTOURY, as before ; on the haft panels with floral patterns. Length 2,36 in.
2339. BISTOURY, as before ; long blade and haft. Length 4^ in. Towneley Coll. Blue patina.
2340. BISTOURY, as before ; blade set in a sort of imitation pine-cone. Length 3] in.
Bequeathed by Sir W. Temple, 1856.
2341. BISTOURY, as before ; iron haft, inlaid with patterns in silver ; complete. Length 5 J in.
From Rome. Castellani, 1872. Cf. Roach-Smith, Collect. Antiq. iii. pi. 34, fig. 3. Broken in
three pieces.
SURGICAL INSTRUMENTS. 3 I 5
2342. SPATULA. Handle ends in a bulb ; broad flat blade. Length i\ in.
2343. SPATULA. As the last. Length 6] in. Towneley Coll.
0tmmm
Fig. 63 = No. 3344.
2344. SPATULA. As before ; the bulb is elongated. Length 8 in. Athens, 1865.
2345. SPATULA. As the last. Length 6J in. From Corfu. Woodhouse Coll, 1868.
2346. SPATULA. As before ; blade more pointed. Length 6 in.
Fig. 64 = No. 2347.
2347. SPATULA. As before ; a plain point instead of the bulb. Length7fin. Orvieto, 1891 .
2348. SPATULA. Handle ending in bulb; flat pointed blade (rather broken). Length 5 in.
Orvieto, 1891.
2349. SPATULA. Narrow blade with rounded end ; bulb elongated. Length 6^ in. From
Corfu. Woodhouse Coll., 1868.
2350. SPATULA. As the last. Length 7} in. From Corfu. Woodhouse Coll., 1868.
2351. SPATULA, as before ; no bulb. Length 5 \ in. Blacas Coll., 1867.
2352. SPATULA with elongated bulb and very narrow blade, with a quirk on either side at the
end next the stem. Length j\ in. From Corfu. Woodhouse Coll., 1868.
2353. SPATULA. Blade long and narrow. Length 7 $ in.
2354. SPATULA, with leaf-shaped blade. Length 6| in. Greece, 1882.
2355. TWO SPATULAE, as the last ; the blade hollowed out. Length y{ in.
2356. TWO SPATULAE, with narrow hollow blade, rounded at the end. Length 5J; and $1 in.
2357. SPATULA, as the last two. Length 6| in. Blacas Coll., 1867.
2358. SPATULA. Moulded handle, without bulb ; blade long, narrow, and hollow. Length
6 in. Athens, 1865.
2359. TWO SPATULAE. Blade
leaf-shaped ; bulb at the other end. ftm^ \ HflflflflF^"" ~~~^)
Length 5! in. and 7^ in. ~~~
Fig. 65 = No. 23S9.
2360. SPATULA, as the last two.
Length 7 3- in. Presented by General Meyrick, 1878.
2361. SPATULA. Very thin and narrow ; blade with rounded end. Length 6| in.
2362. SPATULA. Flat, straight blade;; bulb broken off. Length 4| in.
2363. SPATULA. Handle inlaid with spiral pattern in black enamel. Length 5 in. Blacas
Coll., 1867. Blade broken off.
2364. SPATULA (?). Thick, eight-sided handle ; long pointed blade, joined by a bent piece to
the handle. Length 4] in. 1877. Blade corroded.
J
l6 CATALOGUE OF BRONZES.
2365. STATU LAE, four in number, of the common Cypriote type, with a bulb at one end and
blade like a shovel. Length 5}, 6ls, 6f, and j}g in. respectively. Amathus, Cyprus, 1894.
(excavated under the Turner bequest).
2366. SPATULA, of the same type. Length "]\ in. Curium, Cyprus, 1895 (excavated under
the Turner bequest) ; tomb 69.
2367. SPATULA, as before. Length 4 in. Curium, Cyprus, 1895 (Turner bequest) ; tomb 68
or 1 10. Handle broken off.
2368. PART OF SPATULA. Common Cypriote type. Length 3! in. Cyprus, 1884.
2369. HEAD OF INSTRUMENT, in the form of a bulb or disc. Ht. \\ in. Curium, Cyprus.
1895 (Turner bequest) ; tomb 73.
Fig. 66 = No. 2370.
2370. SPATULA, with long, narrow, spoon-shaped blade and bulb at end of handle. Length 6| in.
Orvieto, 1891.
^- ^liiliiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiMiiiiiiiiiiiii 1 ^^m^mmimm m -^
Fig. 67 = No. 2.571.
2371. INSTRUMENT for surgical purposes, with thick stem tapering at one end ; at the other
a disc with convex under-surface is fixed at an angle. Length 6| in. Orvieto, 1891.
2372. INSTRUMENT for surgical purposes ; one end is flat and tongue-shaped, the other is
flat, and ends in a hook ; the stem is twisted in a spiral. Length 3| in. Orvieto, 1891.
2373. TWO SIMILAR INSTRUMENTS. Length 6f in. and 2| in. Orvieto, 189 1. Onehas
the hook or point broken off.
2374. STYLUS (?), with flat stem, terminating at one end in a sharp point, at the other, which
is bent round at right angles, in a dog's head. Length 5 j in. Orvieto, 1891.
Fig. 68 = No. 2372. Fig. 6j = No. 2375.
2375. STYLUS. One sharp-pointed end, the other flat and spade-shaped ; ribbed stem.
Length 5 in. Orvieto, 1891.
2376. STYLUS (?), with long point, stem twisted in a spiral, and a flat blade like a spatula, with
a small circular sinking at the end. Length 4-|- in. Orvieto, 1891.
2377. FISH-HOOK, each end twisted in a loop. Length i£ in. Orvieto, 189 1.
2378. NEEDLE, with a slit in one end ; the other end is in the form of a long curved pointed
blade, with a ridge down the middle. Length 5i in- Orvieto, 1891.
2379. NEEDLE, with flat head, in which are two holes. Length 7I in. Orvieto, 1891.
2380. NEEDLE, with one hole at the head. Length 6£ in. Orvieto, 1 89 1.
2381. NETTING-NEEDLE, with a hook at each end, one set at right angles to the plane of
the other. Length 1 1 £ in. Orvieto, 1891.
2382. BODKIN, with two oblong and two circular holes in the head. Length 61 in. Orvieto,
1 891.
'7
C. OBJECTS USED IN TOILET (2383-2456).
2383.
2384.
2385.
2386.
2387.
2388.
2389.
2390.
2391.
2392.
2393.
I. PINS (2383-2393).
PIN, long and thin, with conical head. Length 15^ in. Orvieto, 1891.
PIN, very thin ; one end has a flat diamond-shaped point. Length 77H in. Orvieto, 1891.
PIN, with head in the form of a right hand issuing from a calyx,
holding the bust of a grotesque figure, with projecting ears. Ht. 4^ in.
Castellani, 1872.
PIN, as the last ; instead of the bust, the hand holds a fruit. Ht. 4^ in.
Castellani, 1872.
PIN, ending in a pomegranate. Length 3J in. Athens, 1865.
PIN with head spreading out like an inverted cone ; below it is a series
of moulded rings, increasing in <iza in the middle. Length 16 in. From
Bex, Canton Vaux. Presented by W. T. Belt, Esq., 1883.
PIN, in the form of a snake. Length 6 in. Payne Knight Coll. Very
rude.
PIN, in the form of a snake, with flat triangular head. Length 3$ in.
Point broken off.
PIN, in the form of a snake, with flat head as last. Length 3 I in.
Corroded.
Fig. 70 = No. 23
PIN, like a modern hair-pin. Length 3! in. From Corfu. Woodhouse Coll., 1868.
PIN, as the last, the head twisted into three loops. Length 3? in. From Corfu. Wood-
house Coll., 1868.
II. MISCELLANEOUS IMPLEMENTS (2394-2419).
2394. TOILET-INSTRUMENTS, four together on a ring :
(1) Depilatory, with circular ends, and a band moving up and
down for tightening the hold ; (2) tooth-pick (dentiscalpium),
in the form of a spike with moulded handle ; (3) nail-cutter,
with moulded handle, the blade spade-shaped ; (4) uncertain
object, with moulded handle, ending in a flat circular head.
From Vinzelles near Macon, 1850. Cf. an Anglo-Saxon
specimen in Roach-Smith, Collect. Antiq. vi. p. 152.
2395. DEPILATORY AND EAR-PICK (auriscaipium).
The ear-pick works on a hinge inside the tweezers, and ends
in a small hollowed-out disc ; the tweezers are marked with
incised patterns, and the ends are bent in ; a ring is attached
to the loop at the head. Length 3] in. Cf. Roach-Smith,
Co 1 1 t'ct. Antiq. ii. 5, 1.
1 J' rig. 71 = No. 2334.
3 I 8 CATALOGUE OF BRONZES-
2396. DEPILATORY, with broad sharp-toothed ends, fastened to a ring with a long chain
attached ; feather-patterns are incised on either side. Length, with chain, iolg in. Presented
by General Meyrick, 1878.
2397. DEPILATORY, with narrow handle ; triangular ends, with small teeth. Length i\ in.
2398. DEPILATORY, working on a broad hinge (as the fibulae, Nos. 2088-2099) ; the ends are
bent in, and are kept tight by an oblong band working along the arms, on which concentric
circles are incised. Length 3 in.
2399. EAR-PICK AND NAIL-FILE, the one end in the form of a small hollowed-out disc on
a long stem, the other in the form of a fork. Length 4I in. Bequeathed by Sir W. Temple,
1856.
2400. EAR-PICK AND NAIL-FILE, as the last, moulded at the ear-pick end. Length
4! in. 185 1.
2401. NAIL-FILE. Plat broad central part forming the file, incited with patterns of crescents
and dots, ending in a fork ; a ring attached to the handle end. Length 4 in.
2402. NAIL-FILE. As the last. Length 2| in.
Magna Graecia, 1 89 1.
2403. TWEEZERS, the handle loop-shaped. Length
i\ in. From Ephesus ; excavated by J. T. Wood, 1 874. Fig ?2 _ No 24Q2
2404. TWEEZERS, as the last. Length 2] in.
Hamilton Coll. 125.
2405. TWEEZERS, shouldered like fire-tongs. Length 4 in- Blacas Coll., 1867.
2406. TWEEZERS, as the last. Length 4 in.
2407. TWEEZERS, as before. Length \\ in. Blacas Coll., 1867.
2408. TWEEZERS, the arms bent into a wavy form. Length 3* in. Comarmond Coll., 1851.
2409. TWEEZERS, Ike a pair of tongs, with
moulded handle. Length Jj in.
2410. TWEEZERS, as the last. Length 4 in.
Blacas Coll. 1867.
2411. TWEEZERS, two pairs, as before. Fg. 73 = No. 9409.
Length 4! and 4J in.
2412. TWEEZERS. Length § in. Amathus, Cyprus, 1894 (excavated under the Turner
bequest).
2413. TWEEZERS. Length 3^ in. Towneley Coll.
2414. TWEEZERS, with incised markings, the ends cut into fine points. Length 2g in.
2415. TWEEZERS, with ring at top, the two pieces wide apart. Length if in. Amathus,
Cyprus, 1894, tomb 146 (excavated under the Turner bequest). Corroded.
2416. TWEEZERS, with curved-in ends. Length 3I in. Presented by General Meyrick, 1878.
2417. TWEEZERS, as the last Length 2% in. From Rome. Burgon Coll., 1842.
2418. TWEEZERS, with ring attached to the handle-end. Length 2| in. One arm broken.
2419. PINCERS. The two pieces are fastened together by a rivet ; one handle has a flat piece
turned up to form a sheath for the other. Length 3^ in.
STRIC, U.S.
3'9
III. STRIGILS AND BATH IMPLEMENTS (2420-2456).
2420. RAZOR OR FLESH-SCRAPER. Blade nearly semi-circular, the base forming the
edge ; handle spirally grooved, ending in a double strip of metal of square section, flattened out
and soldered on to either side of the blade. The blade has chevron and other patterns incised
on it, and in the centre a large hole between two small ones. Length 5^ in. Athens, 1S65.
Ann. deW Inst. 1874, p. 258.
2421. RAZOR OR FLESH-SCRAPER, as the list; only one hole. Length 4^ in. Cam-
panari, 1839. Edges much damaged.
Fig. 74 = No. 2420.
Fig. 75 = No. 2422.
2422.
2423.
2424.
2425.
2426.
2427.
2428.
RAZOR, as before, but cescent-shaped, with stirrup-shaped handle. Ht. 3! in.
Cyprus (?), 1875. Cf. Ann. deW Inst. 1874, p. 258, and Man. x. pi. 10 6, fig. 4.
RAZOR, as the last. Ht. 4? in. 1840. Corroded.
STRIGIL. Blade bent at right angles and then turning outwards ; handle joined on to
back with a lozenge-shaped piece. Length 8f in. Amathus, Cyprus, 1894 (excavated under
the Turner bequest). Corroded.
STRIGIL. Blide wide and deep, slightly bent. Length 10} in. Amathus, Cyprus, 189).
(excavated under the Turner bequest). Corroded ; blade broken.
STRIGIL. Short broad handle doubled back, but not fastened to the blade, which is
curved. Length 9^ in. Curium, Cyprus, 1895 (Turner bequest) ; tomb 62. Corroded.
STRIGIL, fragment of; thin handle, doubled back and joined to the blade by a piece in
the form of an elongated palmette. Length 6| in. Curium, Cyprus, 1895 (Turner bequest) ;
tomb 73. Corroded. Probably fifth century B.C. ; found with Nos. 193, 235, 247.
STRIGIL. Etruscan type ; broad blade curved at a right angle ; handle curved back
and ending in a leaf-shaped piece ; along the edge, egg-pattern, and on the flat part, patterns of
dots. Length n|in. Campanari, 1839. Corroded.
320 CATALOGUE OF BRONZES.
2429. STRIGIL. Etruscan type ; handle in the form of a knotted stem ; end broken off.
Length iof in. Palestrina, 1847 ; found with the cista, No. 744. Blade broken.
2430. STRIGIL. Etruscan type ; broad blade ; handle made in a separate piece. Length
87g in. Presented by G. Witt, Esq., 1868. The handle is lost.
2431. STRIGIL. Blade tapering and curved at right angles, ribbed at the back ; handle straight
and flat, moulded, and pierced with a hole. Length iij in. Rather broken.
2432. STRIGIL. Blade curved at a right angle ; handle bent back to form a rectangle, and
fastened to the back. Length 13^ in. From Melos. Burgon Coll. ; acquired by him in 1828.
2433. STRIGIL. Blade slightly curved, narrow, and deeply hollowed out. Length 7f in.
From Melos. Burgon Coll. ; acquired by him in 18 19.
2434. STRIGIL. Narrow handle ; blade curved up, and then at a right angle ; handle curved
round and then at an obtuse angle, attached by a leaf-shaped ending to the blade. Length
12 j in. From Cameiros. Burgon Coll. ; acquired by him in 1829.
2435. STRIGIL, as the last. Length 11 in. From Pozzuoli. Bequeathed by Sir W. Temple,
1856. Patina.
2436. STRIGIL. Long tapering blade, curved at a right angle ; the handle has been separate.
Length u-f in. Payne Knight Coll. Handle lost.
2437. STRIGIL. Roman type ; fiat handle, with square ends, doubled back ; narrow blade
curving at a right angle. Length 9J in. Towneley Coll.
2438. STRIGIL, as the last ; back of blade ribbed. Length nf in.
2439. STRIGIL. Blade curved up, and then at a right angle ; handle curved round, and then
at an obtuse angle, attached by a leaf-shaped ending to the blade. Length 1 1 f in.
2440. STRIGIL. As the last. Length 11 in. Blacas Coll., 1867. Blade injured.
2441. FOUR STRIGILS on a ring, all Roman, and of the same type, thin and narrow ; the
blades are curved at an obtuse angle, the handles flat and bent back to form rectangles ; on
each are stamped designs. Presented by G. Witt, Esq., 1868.
2442. TWO STRIGILS, similar ; blade curved at right angles, and made of a separate piece
to the handle, on which is a stamped design. Length "]\ and g'£ in. Presented by G. Witt,
Esq., 1868.
2443. BLADE OF STRIGIL, as before. Length 5I in. Presented by G. Witt, Esq., 1868.
2444. STRIGIL. Roman type ; flat handle with square ends, doubled back close ; blade
curved at the end at a right angle ; stamped design as No. 2442. Length g{ in. Presented by
G.Witt, Esq., 1868.
2445. STRIGIL of small size, with thin round handle and blade curved like a sickle. Length
6£ in. Presented by G. Witt, Esq., 1868.
2446. STRIGIL, with broad blade curved at right angles ; in the end of the handle, which is
straight and flat, is a slit, probably for a leather thong or belt. Length 8jj in. Presented by
G. Witt, Esq., 1868.
2447. STRIGIL, as the last, but narrow blade ; made in two pieces. Length 6jj in. Presented
by G. Witt, Esq., 1868.
2448. FOUR STRIGILS. Short broad blade, curved at right angles ; thin handle, bent back on to
the blade, and ending in a leaf. Length 7j, 8J, 10, and 1 1 in. Presented by G. Witt, Esq., 1868.
2449. STRIGIL, as before ; the end of the handle is broken off. Length 9 in. Presented by
G. Witt, Esq., 18*8.
STRIGILS. 32 1
2450. STRIGIL, as before ; the handle widens out. and on the end is a thin piece, bent back
and ending on the blade in a broad piece like a spatula. Length 9$ in. Presented by G. Witt,
Esq., 1868.
2451. TWO STRIGILS, as before ; short broad blade curved at right angles ; handle ending
in a long tongue-shaped piece. Length 8 and 12^ in. Presented by G. Witt, Esq., 1868.
2452. STRIGIL, as before ; blade slightly bent. Length 9} in. Much corroded.
2453. STRIGIL, as the last ; the handle is like an axe-head, thicker in the middle ; it ends in a
thin knotted stem, bent back, and terminating in a long tongue. Length 13! in. Presented by
G. Witt, Esq., 1868.
2454. STRIGIL, as before ; handle ending in oval piece (rather broken) ; on it are three stamps :
a rosette, two animals in congresstt, and X3T "iV~)^ \ \\ 3 I- Length io| in. Presented by
G.Witt, Esq., 1868.
2455. BATH APPARATUS. From a large oval ring are suspended by two smaller rings two
strigils with hollow cylindrical handles knotted like tree-stems ; between them from another
ring is suspended by three chains an aryballos with two handles, the body horizontally ribbed.
Found in a stone coffin at Urdengen near Diisseldorf, 1861. Presented by G. Witt, Esq., 1868.
Patina on the aryballos.
2456. TWO VASES for use in bathing : (1) A small cylindrical pot with a lid, in which is a hole ;
(2) a pyxis-shaped vase with foot, neck, and mouth. Ht. z\ and 3 in. No. 1 was found with
the last object at Urdengen, 1861 ; both were presented by G. Witt, Esq., 1868.
322
Found at Vaison,
D. COOKING UTENSILS AND VASES (2457-2512).
2457. SPOON, with small circular bowl, in which are sunk five small holes ; the handle is broad
and flat, grooved ; on it is stamped Q VRRANI SWI, Q. Turrani
Suaviis). Length 2\ in. Amiens, 1855. Handle broken.
2458. SPOON, as last, inscribed : . . . RIVSEVPHORO, . . . rius Euphoro.
Length 2-j- in. From Corfu. Woodhouse Coll., 1868. Broken.
2459. SPOON. The handle is in the form of a steering-oar, with a dolphin
twisted round the stem, its head towards the bowl. Length 6J in.
Towneley Coll. Archaeologia, liii. p. 110.
2460. SPOON, with handle terminating in a swan's head. Length 3J in.
1851.
2461. SAUCEPAN {trulla). The handle at either end is shaped into the
outline of two dolphins' heads, at the end next the bowl turned away from
each other, at the other end confronted, the details marked by incised lines.
The bowl is plain, polished outside. Ht. i\ in. Diam. \\ in. Length 8 in.
Vaucluse, in 1836. Comarmond Coll., 185 1.
2462 SAUCEPAN, On the handle, a leaf-pattern all the way down ; at the end, two swans'
heads bent back, the necks conjoined, forming a loop. On either side of the central pattern is
inscribed : COCCEIORVM, Cocceiorum. Ht. 3J in. Diam. 7| in. Length 13^ in. Found
near Huelva, Spain, 1871 ; presented by S. R. Pattison, Esq., F.G.S., 1889. Archaeologia,
xliii. pi. 39, p. 5 58.
2463. SAUCEPAN. On the handle is inscribed: N/EVI CERIAL, Naevi Ccrial{is. The
inside is polished ; the end of the handle is ornamented with concentric circles. Ht. i\ in.
Diam. of bowl, 5| in. Length 9! in. Handle broken.
2464. SAUCEPAN, as the last. Ht. 3 in. Diam. 5 in. Length 9I in. Handle not broken.
2465. SAUCEPAN. On the handle is inscribed: ANS1EPA. . . Ht. i\ in. Diam. 5 in.
Length 9! in. Payne Knight Coll. 49.
2466. LADLE, with wide hinged handle ending in a swan's head. Ht. \^\ in. Amathus.
Cyprus, 1894 ; excavated under the Turner bequest (tomb 84).
2467. HANDLE of bowl or saucepan, ending in a ram's head ; below the head is a cross-piece
by which it has been attached to the bowl. Length 5! in.
2468. HANDLE, as last. The upper part forms two dogs' heads (?) extending along the sides
of the bowl ; the lower part ends in the form of a human hand (one finger broken), and is
elaborately moulded and incised with various patterns. Length 8J in. From Corfu. Wood-
house Coll., 1868.
2469. HANDLE of bowl or saucepan, of elaborate shape, ending above in a swan's head ;
incised patterns on the middle, below which it branches out into three ; on this end is the
figure of a small dog, the tail working in a hinge, so that it is movable. Ht. 9f in.
2470. PHI ALE MESOMPHALOS, with handle. The handle ends in a head of Eros (?) with
long hair and one arm extended along the rim of the bowl each side ; at the other end is a
similar head, with thick curls tied in a top-knot over the forehead. On the handle, between
two lines of rings, are two wild ducks in relief flying among reeds (incised). Under the handle
is a donkey lying down to 1., in relief, among reeds, incised as before. Length 10] in. Diam.
of bowl, t\ in. Hamilton Coll. 8*.
VASES, ETC.
323
2471. COLANDER (ndfios). The handle ends in a tiger's head ; on the end next the bowl has
been a design, which is all worn or cut away. Length j 5 1 in. Diam. of bowl 5^ in. i860.
Strainer and rim modern.
2472. TREFOIL OINOCHOE with high handle, at the lower junction of which is a relief of
the child Dionysos nearly to the front, wearing short chiton and himation held up in 1. hand ;
in r. hand he holds out a bunch of grapes. Ht. j{ in. From Pompeii. Bequeathed by Sir W.
Temple, 1856.
2473. TREFOIL OINOCHOE. The handle is in the form of a nude athlete who throws him-
self backwards and holds in each hand by the hind-leg a lioness crouching along the lip. On
either side of his feet is a ram lying down with face turned to the front ; below, a palmette.
Ht. 5J in. From Ruvo. Bequeathed by Sir W. Temple, 1856. Corroded.
2474. TREFOIL OINOCHOE. Fluted handle, ending above in a woman's head with waved
hair, and below in a Satyric mask. Ht. 6£ in. Galaxidi, 1884. Well executed.
2475. TREFOIL OINOCHOE. The handle ends above in the fore-part of a cluck, roughly
executed, inlaid with silver ; below is the mask of a bearded Satyr ; double row of rings up the
handle. Ht. 6| in. Castellani, 1873. Beautiful dark green patina over one side of the vase.
2476. OLPE. The handle ends above in a bent leaf, with a sheep's head on either side along
the lip ; a leaf is folded back down the central part. Below is Pan, bearded, with goat's legs,
horns, and ears, seated to the front cross-legged on the head of an ibex, playing on the syrinx.
Ht. 8 in. Borrell Coll., 1852.
2477. OLPE. On the handle, above, is a swan pluming the feathers on its back ; below, a
festoon, a stick and a. pedum crossed, and a. pedum ; at the lower junction with the vase, a bust
of a youthful Satyr looking up to his 1., wearing a skin, and holding a branch in r. hand behind
his head. Ht. 14^ in. Blacas Coll., 1867.
2478. OLPE. On the handle, above, a large acanthus-plant, and on either side a goat's head
extending along the lip ; down the handle is an acanthus-leaf. At the lower junction with the
vase is a Gorgoneion, of the fine type, winged, with vine-leaves in the hair ; below, two
dolphins confronted over the head of an octopus (?). Ht. 16 in. Blacas Coll., 1867.
2479. BEAKER, decorated with bnnds of pattern, which have been inlaid with enamel : two
rows of vine-leaves, a myrtle-wreath, a plant with ragged leaves, and a myrtle-wreath ; below
each, a band of dentils ; round the bottom, bands of toothed lines. Diam. \\ in. Castellani
1872. Bottom broken away.
2480. PAIR OF HANDLES from vase, each ending in two large leaf-shaped pieces, on which
are busts in relief of the Dioscuri (?) rising out of a calyx, with curly hair and peaked caps ; in
the background of each, two palm-branches. Ht. b\ in. Castellani, 1873.
2481. HANDLE OF JUG. Above is a figure of Scylla reaching to the hips, with hair in
a knot, chiton with apoptygma leaving r. shoulder bare, and r. hand raised menacingly ; in 1.
hand she holds the head of an eel (?), which is twisted round her arm. On either side is a dog,
lying along the lip of the vase, with face turned towards her ; on the back of each is a tendril
of ivy-leaves inlaid in silver. Below is a group of a Satyr and Maenad dancing ; the Satyr in
a crouching attitude to r., looking back, holds the Maenad's hand in his 1. over his head, and
places his r. hand under her chin ; she is also to r. Ht. 6 in. Castellani, 1873. Head of one
dog, right foot of Satyr, and lower part of Maenad lost.
2482. HANDLE OF VASE formed of two dolphins bent round and supporting in their mouths
the central piece, which is moulded and turns on a pivot ; they rest on a mask of a sea-deity,
their tails spreading out on either side of his face, beaten out quite flat. The deity has richly-
curling hair, and his face is covered with sea-weed (cf. Nos. 964, 974), a fringe of which, beaten
out flat, is under his chin ; his eyes are inlaid with silver. Ht. 4J in, 1851.
V 2
CATALOGUE OF BRONZES.
2483. HANDLE OF VASE, formed of two sea-monsters, ending in a moulded centre ;
they have wolves1 heads, with ears erect. Length 8^ in. Castellani, 1873. Head of one
broken off.
2484. HANDLES OF SITULA as Nos. 314 or 652 ; one of the handles is only half preserved.
At each end they pass through rings fixed into the head of a Seilenos (cf. Nos. 652, 2514), with
open mouth forming a spout ; eyebrows much raised ; neck indicated below ; hair on forehead
merely incised. Diam. 8 in. Good work.
2485. HANDLES OF SITULA, as last ; instead of Seilenos' head, a lion's head, hollow behind,
with open mouth forming a spout. Diam. 5J in.
2486. HANDLES OF SITULA, as before ; on one side, lion's head ; on the other, head of
bearded Satyr wearing ivy-wreath with berries. Diam. 7 in. Well executed.
2487. HANDLE OF SITULA, with double ring at the top ; belo.v, a bearded head in relief,
wearing panther-skin over the head, the paws tied under the chin ; the type of the features
recalls the heads of Zeus. Ht. 3! in. Payne Knight Coll.
2488. HANDLE OF SITULA. Mask of Seilenos, wearing ivy-wreath, with large open mouth
projecting, like a comic mask, as if to form a spout ; below is another bearded head in relief.
Ht. 3 j in. Payne Knight Coll. 47.
2489. HANDLE OF SITULA. As the last ; the lower head is that of a Maenad (?), with
curly hair. Ht. 3! in.
2490. HANDLE OF VASE, formed of the heads and fore-parts of two snakes end to end, with
crests ; the body of each is twisted in a single coil. Above, between them, is a bud ; below, an
acanthus (?) plant with spreading leaves. Length 6 in. Castellani, 1873. Underneath is a
groove for fitting to the rim.
2491. HANDLE OF VASE, as last ; the middle part is elaborately moulded ; the upper part
is in the form of a bud, and the lower, of two volutes bound together, with a bud between. At
each end is the head of a goat with long pointed beard. Length 7J in. Castellani, 1873.
2492. HANDLE OF VASE, ending in cows' heads in relief, above which are lions seated with
hind-legs on the handle and fore-paws on the cows' heads ; a crescent-shaped piece is attached
to the middle of the handle. Length 6^ in. Payne Knight Coll. 74.
2493. HANDLE OF VASE, in form of a stem with an ivy-plant climbing up it ; on the upper
part is perched a parrot ; it ends below in an oscilhim, with ivy-wreath and a plait of hair down
either side of the face. Ht. 6 in. Sidon, 1888.
2494. HANDLE OF VASE, in form of a dolphin with arched back and tail raised ; the tail
rests on a sort of plinth, and the head on another which ends in a leaf-pattern. Length 8 in.
2495. HANDLES OF LARGE VASE. A snake is twisted round the middle of each, and on
either side of it is a lizard ; the handle is grained like a bough of a tree. Each ends in the
busts of a Satyr (on the r.) and a Maenad (on the 1.). The Maenad has wavy hair falling in
tresses on the shoulders, and wears a sphendoue and chiton fastened on r. shoulder, leaving the
1. breast bare ; in r. hand she holds a dolphin, and in 1. a vine leaf (in one case broken off).
The Satyr is bearded, with thick hair, and wears a panther's skin fastened on 1. shoulder ; with
r. hand he holds up fruit in a fold of the skin, and on his 1. a lamb is seated to 1. Ht. of each,
5i in. One is in much better condition than the other.
2496. HANDLE OF VASE, with figures in relief; above, a lotos-flower ; a head to r., with
hair falling in rich curls ; a rude animal to 1., lying down ; in the background, flowers. Below
is a Gorgoneion, with masses of hair tied in a top-knot, small wings on the head, and two snakes
tied under the chin, the heads of which project over the forehead. Ht. 5 in.
VASES, ETC. 325
2497. HANDLE OF VASE. Above, an acanthus-plant; an animal walking to I., much
worn ; a tripod with a cauldron on the top ; a Gorgoneion with dishevelled snaky locks and
sea-weed (?) below the chin. Ht. b\ in. Towneley Coll.
2498. HANDLE OF VASE. On the upper part is a sort of Ionic or Composite capital ; then
a festoon of beads ; a bearded head of Pan to r., with goat's horns ; a basket of fruit ; and a
mask of a Maenad with richly-curling hair and beaded fillet. Ht. 7 in. Castellani, 1873.
2499. HANDLE OF VASE. The upper part ends in a human thumb ; below this is a capital,
as last, with a wreath of leaves round the base of the thumb ; below, a floral pattern. At the
lower end is a bust of the youthful Heracles (?), in high relief, holding an apple in r. hand ; his
hair is plaited round his head and tied in a top-knot over the forehead, and he wears the lion's
skin over 1. shoulder. Ht. 7 in. Towneley Coll.
2500. HANDLE OF VASE. Above, an eagle with wings spread ; on either side, a swan's
head, extending along the bowl ; on the middle, a floral pattern in relief; at the lower end, a
bust of a woman in relief, with wavy hair, and chiton fastened on shoulders. Ht. b\ in.
2501. HANDLE OF VASE, ending above in swans' heads (one broken off; ; on the middle,
floral pattern in relief ; below, Gorgoneion with wings and thick locks ; over its forehead, a
swan's head. Ht. 5-f in.
2502. HANDLE OF VASE, ending in a tiger's head above, with floral pattern on the back
and below ; at the bottom, a ring. Ht. z\ in. Good patina.
2503. HANDLE OF VASE, in the form of a dog running, issuing from a calyx ; the fore paws
rest on a curved piece that goes round the lip. Length 6^ in. Acquired from the Earl of
Carlisle, 1896.
2504. HANDLE OF VASE, part of. Above, an inverted calyx of a flower ; below, head <>t
Satyr in relief, with long pointed beard, wearing ivy-wreath. Ht. 3^ in. Payne Knight Coll.
Patina.
2505. RELIEF FROM HANDLE. Mask of bearded Satyr, with pointed ears, and horns on
the forehead curving inwards. Ht. \\ in. Towneley Coll.
2506. RELIEF, as last. The eyes are hollow ; no horns. The handle has been fluted ; now
lost. Ht. 2 £ in. Payne Knight Coll. 85. Well executed ; patina.
2507. RELIEF from handle of vase, in the form of two mules' or horses' heads confronted, in
profile, with thick hair over the eyes. Length if in. From Corfu. Woodhouse Coll., 1868.
2508. RELIEF, as before ; at the top, a ring, broken off. Bust of a child in high relief,
emerging from a calyx ; below, a dog (?) moving to 1. Ht. 2% in. Towneley Coll. Coarse work.
2509. RELIEF, with lower part of ribbed handle. Eros to the front, with wings spread,
standing with body bent, 1. hand on hip, r. resting on a rock ; drapery over arms (?). Ht. 4! in.
2510. RELIEF of oval shape ; head of Zeus Ammon, with thick beard and ram's horns, wearing
fillet. Length 2 in. Payne Knight Coll.
2511!. RELIEF from handle of vase ; at the top, a ring ; Gorgoneion with streaming hair, curly
at the ends. Ht. 3I m- Patina.
25112. RELIEF, as last, but better executed. Ht. 3$ in. Castellani, 1873.
2511 . RELIEF, as before ; Gorgoneion surrounded by rays. Ht. 3! in. Much worn.
2512. SHALLOW BOWL. Round the edge, egg-pattern. On the rim are four beardless men
reclining, leaning on the 1 elbow, wearing himatia over 1. shoulder, covering the lower limbs.
Two grasp their himatia with r. hand, the third holds a. patera in r. hand, and the fourth is
wholly muffled in his himation, which is drawn over his head. Diam. 4] in. Hertz Coll., 1S59
Sale Cat. 207 [).
,26
E. LAMPS, CANDELABRA, AND FURNITURE
(2513—2585).
I. LAMPS (2513-2542).
2513. LAMP, with two spouts, suspended by a chain attached by a double hook to the tails of
two dolphins, whose heads rest one on each spout, their tails being united. At each side the
front part of a lion springs forward ; one is smaller than the other and inferior in style, and
may be an ancient restoration, copied from the other, the position of which appears to have
been altered. Under each spout is a Satyric head in relief, with goat's horns and long beard ;
below are palmette patterns in relief. The design is bold and original ; the details are
finely executed. Length 13! in. Ht. Ilf in. ; with chain, 22|- in. Found at Paris in 1863,
in an excavation in the Thermae of Julian beside the Hotel Cluny ; acquired 1864. Fine
Arts Quarterly Review, May, 1864, p. 271 (where the circumstances of the .discovery are
related, but the accuracy of this account is open to doubt) ; Arch. Zeit. 1864, Anzeiger,
p. 285* ; Intermediate des Chercheurs et des Curieux, iii. p. 196 ; Reinach, Musee de
St. Germain-en- Lay e, p. 349, No. 473. Compare a lamp given in Mus. Borb. ii. 13.
2514. LAMP, in the form of an equestrian figure. The man is beardless and wears a short
chiton ; he has held the reins in r. hand, and looks to his r. The horse is galloping, with mouth
open ; its feet are off the ground, and under its body is a support ; on its head is a top-knot. In
front of the horse is a spout, formed by the mouth of a comic mask(cf. Nos. 652, 2484) ; behind
the man is a support, broken. Ht. 6} in. From Canosa. Castellani, 1873. Rough work and
rather corroded ; right hand of man injured and tail of horse broken off.
2515. LAMP, with seven spouts. Large central opening surrounded by egg-moulding and vine-
wreath ; between each spout is a female head in relief surrounded by formal tresses of hair and
wearing a beaded fillet with rosettes. Diam. 13 in. Thomas Coll., 1844.
2516. LAMP, with two spouts ; round it are four rosettes, and on either side the head of an
elephant with tusks. Length 8f in. Castellani, 1873. Fine patina ; good work.
2517. LAMP in the form of a captured deer, lying on its back with each fore-foot tied to the
corresponding hind-foot. At the back of its neck a cow's head is attached. Ht. 5-f in.
Towneley Coll. Caylus, Rectteil, v. 70, fig. '3. Spout broken.
2518. LAMP, in form of dog lying curled up, biting his hind-ieg ; he wears a collar. Length
4 in. Ht. ij in. Crete, 1875. Spout broken.
2519. LAMP with two spouts and chains attached for suspension ; on the top, round the hole
for the wick, is a relief of a dog curled up. At the back is a sort of canopy, of two rude
Corinthian columns supporting an arch, within which is a figure of Zeus standing with thunder-
bolt in r. hand and sceptre in 1. ; he wears a himation over 1. shoulder girt round the waist.
Ht. Jl in. Coarse work.
2520. LAMP, with two mouths, one on each side, and chains attached for suspension ; at the
back is a figure of Selene in a chariot drawn by two bulls ; she wears a long chiton with
apoptygma and a small himation over her shoulders floating behind in the form of a crescent ;
behind her is the hole for feeding the lamp. Ht. 7} in. Payne Knight, Culte de Priape, pi. 6,
]>. 5y : Reinai Ii, Repertoire, ii. p. 319, No. 8 ; Vatix, Handbook to Brit. A/us. p. 415.
LAMPS. 327
2521. LAMP, with two mouths, and chains attached for suspension. At the back is an arch
with plain columns, under which is a figure of Cybele (?) in a chariot drawn by two lions ; she
wears a t/iod/us, long girt chiton and himation, and holds a phiale (?) in r. hand and distaff r
in 1. Ht. 6 in. Very rude.
2522. LAMP, with two spouts, and at the other end a hinge for a handle (now lost, ; it is moulded
in the form of a bearded head, the hair being very conventionally treated. Length 4 in.
Towneley Coll.
2523. LAMP, in the form of a grotesque head ; the hole for filling adjoins the handle, above
which is a leaf to support the thumb while holding it ; two snakes pass from the handle either
side over the top of the head. Length $'s in. Payne Knight Coll.
2524. LAMP, with three burners, alternating with three spouts. Below each spout is a figure
of a woman in relief, moving to 1., wearing long chiton and apoptygma ; the first carries a knife
in r. hand and a hare in 1. ; the second, a patera in r. hand and a situla in I. ; the third, a
wreath in r. hand and a bird (?) in 1. In the centre underneath is a rosette, on which is a head of
Pan or a youthful Satyr in relief, with twisted horns and flowing locks. In the centre of the lamp
is a circular moulded plinth round which are pendants or buds, of which only six remain. On
the top of this is a figure of Eros or Ganymede, standing on 1. leg, holding up a prochobs in r. hand
from which he is about to pour into a patera held in 1. His wings are spread, and he has long
hair and an anklet on 1. leg. On his head is a sort of cap, from which rises a swan's head and
neck forming a hook to suspend the lamp. Total height, 1 1 \ in. ; ht. of Eros, £>\ in. ; diam. of
lamp, 5 in. Found near Naples. Pajne Knight Coll. (liv. 25) ; obtained by him from Sir W.
Hamilton. The type of figure suggests Ganymede, but he would not naturally be winged : the
swan's head and the wings also recall in a measure the composition of Ganymede carried off by
the eagle (cf. No. 726).
2525. LAMP. On the spout is a palmette pattern in low relief, and on the sides of it floral
patterns which have been inlaid in enamel ; on each side of the beginning of the spout is a
rosette. The top is grooved, and over the hole for filling is a cover with knob, from which
a chain extends to the handle. The handle is bent back into a circle, ornamented with a calyx ;
above is a large crescent, on which is the figure of an eagle, nearly in the round, standing on a
cable-moulding. Length 8 in. Ht. 5} in. Hamilton Coll. 24.
2526. LAMP, in the form of a Seilenos reclining. He is seated on an askos of skin, below which
is a plinth ; his head rests against the calyx of a large flower, which forms a spout ; below it is
a handle ; in the plinth is a large hole. The Seilenos wears a myrtle-wreath and sandals, and
has a shaggy skin and protruding stomach ; he holds the mouth of the askos between his legs,
which forms the mouth of the lamp. Ht. 3^ in. Towneley Coll. Reinach, Repertoire, ii. p. 60,
Xo. 2.
2527. LAMP, in the form of a squatting Seilenos, bald, holding a crater before him in both
hands, the mouth of which forms the hole for filling ; his feet are placed on either side of the
spout. Handle at back with flat top. Length 4| in. Corfu, 1846.
2528. LAMP, in the form of a head of Pan, with long goat's horns and long beard which extends
along either side of the spout ; on the top of the head are the hole for filling and a hinge to
which a cover has been attached ; on the spout and on either side of the head are rings for
chains. Ht. 4 in. Length 6\ in. Payne Knight Coll.
2529. LAMP, in the form of a grotesque head. Hooked nose, pierced ; high cheeks and flat
forehead ; the ears are each pierced twice. On each side of the head is a long curly lock of
hair, and scanty hairs on the top. The mouth is open, showing the teeth, and the eyes li ive
been inlaid ; round the neck is a necklace. Ht. 3! in. Payne Knight Coll. Good patina.
Hole in top of head ; on the base, acanthus pattern.
328 CATALOGUE OF BRONZES.
2530. LAMP, with two spouts and chains for suspension ; on the top, a bearded mask. Diam.
7 in. Towneley Coll.
2531. LAMP, in the form of a grotesque or negro's head, holding the spout in the open mouth,
with thick woolly hair. The hole for filling is on the top of the head and has a cover on which
the hair is similarly rendered. The handle is in the form of a plait of hair. Length 3} in.
Payne Knight Coll.
2532. LAMP. The handle has a leaf attached above, and ends in front in a dog's head with
open mouth ; on either side is a rude snake (?) along the edge of the lamp. Length 10 in.
Towneley Coll.
2533. LAMP. The circular part is grooved in concentric circles ; at the parts where it joins the
spout are two rosettes. Over the feeding-hole in the centre is a moulded cover to which a
chain is attached, its other end being fixed in the mouth of a lion's head which forms the end of
the handle, which is twisted and curves over. Length 5 in. Ht. 2} in. Payne Knight Coll.
2534. LAMP. The hole for filling is shaped like a leaf; the handle curves over in the form of
a lion's mask hollowed out ; in the mouth is a ring with chain attached. Ht. 5^ in. Length
8| in. Payne Knight Coll. Lion's mask well executed.
2535. LAMP, in the form of a fir-cone ; at the back is a bust of Eros in relief resting on a
calyx ; on the top is a flower-shaped hole for filling, and a large ring with chain attached.
Spout at end ; three small feet. Ht. 3J in. Length 5! in. Castellani, 1873.
2536. LAMP, as the last ; no bust and no chain. Length 4| in. Ht. 3! in. Bequeathed by Miss
Auldjo, 1859.
2537. LAMP, with two spouts ; on the top is a scallop-shell, in which is the filling-hole ; on
either side is a knob, and on the top two rings for chains. Length 3! in. Handle broken off.
2538. LAMP in the shape of a leaf, with spout and three small holes for filling; the handle
curves over in the form of a calyx, from which springs a horse's head. At the back is
incised A. Ht. 4 in. Length yl in. Towneley Coll. Patina.
2539. LAMP, as the last. Ht. 4J in. Length 7I in. Payne Knight Coll.
2540. LAMP, with long spout ; on the middle part, leaves and other patterns in relief; the
handle is knotted above and ends in two leaves below, and a large vine-leaf is attached to it.
Length 9 in. Bequeathed by Sir W. Temple, 1856.
2541. LAMP, in the form of a snail-shell inverted, standing on three small feet. In the top is
a small hole for the wick, and a ring with chain attached. Length if in. Sloane Coll. 463.
Piece broken out of top.
2542. LAMP, as the last, but apparently an imitation of a whelk or other shell-fish ; on the top
is a sort of comb. Length 3 in. From Nocera. Castellani, 1873.
II. CANDELABRA (2543-2558).
2543. CANDELABRUM. Stem fluted, alternately vertical and spiral ; at the top is a saucer
resting on a cup, with egg-pattern round it. The feet are in the form of panthers' heads resting
on lions' claws on round bases ; behind each head is a leaf, and on the top of each head, nine
perforations ; between them are large leaves on which are two rams' heads pointing down-
wards, in low relief, carefully executed. Ht. 3 ft. 9J in. From Canino. Bequeathed by Sir W.
Temple, [856.
CANDELABRA. 329
2544. CANDELABRUM. Fluted stem, with saucer at top ; feet in the form of elephants'
heads covered with incised reticulated patterns; between them are Gorgoncia in relief with
curly hair, wings on temple?, and open mouths ; between the Gorgoneia, resting on each foot,
are the fore-parts of two snakes. Ht. 3 ft. gl in. Rather coarse work.
2545. CANDELABRUM in the form of a tree-stem, with leaves between the feet, and six rings
round the stem. Ht. 3 ft. 9] in. Bequeathed by Sir W. Temple, 1856.
2546. CANDELABRUM, as the last. Ht. 2 ft. 7} in.
2547. CANDELABRUM, as before, but no bands round the stem ; knobs in sets of three all
the way up the stem ; top cup-shaped, not flat. Ht. 4 ft. 3 in. From Torre Annunziata.
Bequeathed by Sir W. Temple, 1856.
2548. CANDELABRUM, as before ; flat top ; between the feet, which are in the form of dogs'
claws, are scollops. Ht. 4 ft. of in.
2549. CANDELABRUM. As No. 2545; the feet in the form of claws; between them,
palmettes. Ht. 4 ft. oh in. Towneley Coll.
2550. CANDELABRUM. Small top; a snake twisied round the stem; feet in the form
of horses' hoofs ; between them, ivy-leaves (one broken). Ht. 15 in. Towneley Coll.
2551. CANDELABRUM. Large square base on four feet in the form of dogs' paws ; on one
side is a triangular pillar, panelled, with a mask and fore-feet of a panther in the top of each
panel ; above is a capital with a palmette each side, surmounted by a calyx, on which is a
knob ; at each corner springs out a bracket of scroll-work, ending in a calyx with knob.
Ht. 22i in. From Pompeii. Blacas Coll , 1867.
2552. CANDELABRUM. Fluted stem, with top in form of Corinthian capital ; three feet on
bases in the form of hoofs, with leaves between. Ht. 13 in. From Chiusi. Castellani, 1873.
2553. CANDELABRUM. Flat top supported by three branches ; stem in form of a tree-trunk
with lopped branches, round which a snake is coiled ; feet in form of horses' legs. Ht. 12^ in.
Hamilton Coll. 44.
2554. CANDELABRUM, the feet in the form of branches with leaves ; stem with leaves, as
before, and six rings round it ; at the top, three branches to support the lamp. Ht. 4 ft. Payne
Knight Coll. Coarse work.
2555. CANDELABRUM. As the last ; flat disc at top. Ht. 5 ft. 1 in.
2556. CANDELABRUM, with flat top : below, three leaves and three buds in a circle ; at the
bottom, a moulded base resting in a calyx ; feet in form of dogs' paws, with palmettes between.
Ht. 2 ft. n in. From Canino. Bequeathed by Sir W. Temple, 1856.
2557. CANDELABRUM, base of ; the feet in the form of dogs' paws, with a leaf recurved on
each ; between them, large ivy-leaves. Ht. 3 J in. Castellani, 1873.
2558. CANDELABRUM, or perhaps cottabos-stand, with flat top ; the stem is composed of a
thin flat piece working up and down in a socket between two other flat upright pieces, and
fastened with a pin ; between the feet are leaves. Ht. 3 ft. iof in.
10 CATALOGUE OF BRONZES.
J J
III. FURNITURE, etc (2559-2585).
2559. COTTABOS-STAND. Thick fluted stem to which is attached a flat disc supported on
rings, as represented on numerous red-figured vases {e.g. F 37 in Brit. Mus.) ; feet in form of
claws. On the upper side of the disc is a frieze of various figures incised : {a) Two Dionysiac
heads confronted, with flowing hair, one wearing a wreath ; between them, a pedum, a syrinx,
and a rod with bulbous ends ; behind each head, an uncertain object, {b) Two heads as before,
confronted, rather indistinct ; between them, a rod, as before, and various uncertain objects.
Round this band are two outer ones of egg-pattern and tendrils. Ht. 3 ft. 6 in. From
Naucratis. Presented by the Egypt Exploration Fund, 1888. Archaeologia, li. pi. 13, p. 389 ;
Sartori, Kottabos-spiel, p. 113. For another example, see Rom. Mitthcil. i. (1886), pi. 12 a.
2560. TRIPOD. The ring at the top is supported by three seated Sphinxes with head-dresses
of Egyptian type and wings addorsed ; they are seated on circular capitals ornamented with
leaves. The capitals rest on the heads of nude youthful figures, extending to the waist, who with
their hands support projecting leaves ; they wear wreaths. Each springs from a long calyx of
leaves resting on the leg of a dog which stands on a tortoise. The legs are joined by branches
ornamented with elaborate scroll-work, which meet in a large bud in the centre. Ht. i\\ in.
From HercuDneum. Presented by Sir W. Hamilton, 1774.
2561. SELLA. It has four richly-moulded legs with connecting bars, and a modern wooden
seat, with a knob at each corner. In the front and at the back, resting on the cross-bars, are
supports {fulcra) which end above in mules' heads and below in busts of youthful Satyrs ; thc?e
have been wrongly restored in this position, and should be placed above the seat for resting the
cushions on (see an illustration in Bull. Comm. Arch. Municip. di Roma, ii. 1 874, pi. 2). The busts
of the Satyrs are turned towards one another, and they have ivy-wreaths, fawn-skins fastened on 1.
shoulders, and warts on their chins ; these figures were known as the Genii fulcri, and there are
references to them in Propert. iv. 8, 68, and Juv. vi. 21. The central part of the supports is
inlaid with myrtle-wreaths and other patterns in silver and colours ; along the top of the sella
and the cross-bar in front are inlaid palmette patterns, and also on the front of the seat. The
mules' heads are decorated with vine-wreaths, and on the shoulders is a leather collar with
inlaid patterns, turned down over the skin of some animal ; the heads are turned sideways and
the ears put back with a vicious expression. Ht. 19^ in. Presented by Sir W. Hamilton,
1784. Smith, Diet. Ant? ii. p. 620; Classical Review, 1889, p. 323. For an explanation of
the mules' heads, see Hyginus, Fab. 274, and Juvenal, xi. 97 (with Mayor's note ad loc.) ; and for
other examples, Rom. Mittheil. vii. (1892), p. 40 ft".
2562^ HEAD OF MULE from sella, as those on the last example ; wears ivy-wreath with
berries ; collar of lion's skin ornamented with maeander and wave-pattern inlaid in silver ; mane
carefully rendered. Ht. 6^ in. Found in France ; acquired, 186S. Very good workmanship.
25622. HEAD OF MULE, as before. Inferior to the last, but similar ; no maeander on collar ;
eyes inlaid in enamel. Ht. 3! in. From France.
2562;t. HEAD OF MULE, as before. Ivy-tendrils all over the head ; ivy-leaves on collar.
Ht. 4! in.
2562.,. HEAD OF MULE, as before. Ivy-wreath round head ; maeander pattern inlaid in
silver on collar. Ht. 4] in. Payne Knight Coll. In good condition.
2562v HEAD OF MULE, as before ; quite plain. lit. 4I in. Payne Knight Coll.
2562(i. HEAD OF MULE, with wreath of ivy-berries. Length 3- in. Payne Knight Coll.
(viii. 1 ;. Found near Naples in 1702, and given to Payne Knight by Lady Hamilton.
FURNITURE, ETC.
d 3
; i
2563. PART OF COUCH, as the previous examples; a curved open framework forming the
support of a pillow, hollowed out at the back for fitting on to the wood. It ends above in a
horse's head looking round to its r., with carefully-curled mane ; below, in a bust of Eros, with
head thrown back to his 1., top-knot, small wings on shoulders, and a garment fastened on the
shoulders, and thick twisted fillet in hair. Length lo| in. Acquired from the Earl of
Carlisle, 1896.
2564. PART OF COUCH, as last. The horse's mane is not so carefully rendered ; the head
of Eros has a high top-kn >t, and the hair is straight and curls at the ends ; the wings are
recurved, and on the breast is an elaborate vine-wreath ; the features are childish, with very
staring eyes. Length 13 in. Acquired from the Earl of Carlisle, 1896.
2565. PART OF COUCH, as before. At the lower end is a head of Artemis, the hair tied in
a bow in front and rolled up at the back ; she wears a chiton with looped-up sleeves, and behind
her r. shoulder is a quiver. Length 1 Ij in. Acquired from the Earl of Carlisle, 1896. Rather
coarse work.
2566. PART OF COUCH, as before ; the horse's neck has a collar, on which is a dog's head (?)
in relief; the head is well modelled, the mouth open ; on it is a bridle. At the lower end is a
plain disc. Length 17 in. Acquired from the Earl of Carlisle, 1896.
2567. PART OF COUCH, as before, ending in a swan's head and neck above ; the ears are
indicated and the feathers carefully rendered, in parallel ribs. At the lower end is a disc with
a punctured wheel-pattern ; round it a punctured wave-pattern. Length 17 in. Acquired from
the Earl of Carlisle, 1896.
2568. SIX CHAIR-LEGS in the form of dolphins, with a flat piece below, perforated with two
holes, on which the tail rests, and a ring at the top as a socket. Ht. 9J- to 13 in. Acquired
from the Earl of Carlisle, 1896.
2569. FOOT OF CHAIR (?), in the form of a grotesque monster, with a fish's body and short
human arms, resting on a lion's claw ; on either side of the head is a sort of flap. Ht. 7^ in.
Acquired from the Earl of Carlisle, 1896.
2570. SEAT(?). The topis depressed; between the legs are cross-bars of open-work, and
immediately under the seat are supports of scroll-work at each end and wave-pattern along the
sides. Ht. icj in. Bequeathed by Sir W. Temple, 1856.
2571. STAND FOR SOME OBJECT, having a large oval socket, in the form of a crescent-
shaped pedestal, with brackets at either end supporting the upper cornice, and moulded base.
On the plinth are two lionesses in relief confronted, each placing one paw on a large cantharos
between them ; their tails are erect. Ht. i\ in. Length 5 g in. Towneley Coll.
2572. PEDESTAL, cylindrical on a square base, with conical top ending in a ram's head on
which is perched an eagle. Ht. 3| in. Sidon, 1888.
2573. PUMP OR FIRE-ENGINE, of the type known as a double-action forcing pump or
plunger. It consists of two barrels, if in. in diameter, disposed vertically and parallel to each
other, connected at their lower extremities by branches at right angles to the barrels and by
short horizontal pipes to a central tee ; this served the purpose of a valve-chamber for an
outlet-valve to each barrel, and is provided with seats for those valves. The two valves still
occupy their proper position on their respective seats, but in consequence of corrosion are
immovable. Of the two inlet- valves and valve-seats, one valve and one seat only were
found, but they are not in place, and were doubtless contained in chambers jointed to the lower
extremities of the barrels. The valves are of the type known as flap-valves. The water dis-
charged through the outlet-valves, poured into the central vertical piece, known as the rising
main. Corroded into each barrel is a bronze socket into which the pistons were fitted ; these
were probably of wood covered with leather. At the upper extremity of each plunger-socket is
$$2 CATALOGUE OF BRONZES.
an eye of modern design drilled to receive bolts or pins, to which were attached the connecting-
rods.
Together with the pump were found a boss, and a bracket or clip fitting it ; the former
doubtless formed the pivot of the wood beam, and the bracket the bearing on which the beam
rocked. Ht. io^ in. Length 13] in. Bolsena, 1892. Archaeologia, lv. p. 254 (from which the
description given above is taken) ; Engineer, 6 July, 1894.; JSotizie degli Scavi, i89i,p. 121. See
also on the subject Vitruvius, x. 12, and Smith, Diet. Antiqs? i. p. 570, where a somewhat
similar pump from Castelnuovo in the Vatican is illustrated.
2574. PUMP OR FIRE-ENGINE. Similar to the last, but with slightly different action,
having lift-valves ; only one barrel has been found. The rising main in the middle is here
double, and one cylinder has been cut down vertically to show the interior of the discharge
valve-chest. The valve-spindle is guided by a ferule, which is supported by webs, which do
not appear to be of one casting with it, but driven in. The water is enabled to rise through
the annular orifice surrounding the ferule. In the barrel are remains of a connecting-rod still
hanging on to the piston, which is immovable.
Two other fragments appear to belong to this pump : (1) is, perhaps, the top of one of the
plungers ; (2) appears to be a sort of nut or bolt for uniting two parts of the pump. Ht. of
main portion, 5I in. Bolsena, 1892. Engineer, 6 July, 1894. ; Notizie degli Scavi, 189 1, p. 121.
The bronze is in very good condition throughout.
2575. STOP-COCK. Hollow pipe, tapering towards one end, with socket for tap crossing at
right angles in the middle ; to this are attached two supports on which are dolphins, their tails
touching the narrow end of the pipe. Length 8| in. Christy Coll., 1865.
2576. STOP-COCK. As the last, but made all in one piece ; the socket for the tap has
moulded rings round it, and a square staple above ; at the larger end are remains of lead
fastening. Length 7% in. Castellani, 1873. Deep blue patina.
2577. STOP-COCK. As the last. Length Si in. From Torre Annunziata. Bequeathed by
Sir W. Temple, 1856. Deep blue patina.
2578. PART OF STOP-COCK. Ht. 2] in. From Torre Annunziata. Bequeathed by Sir
W. Temple, 1856. Much corroded.
2579. JET OF FOUNTAIN. Plain stem with moulded rings at the top and near the bottom,
surmounted by a fir-cone pierced with holes for the water. Ht. 20J in. From Pompeii. Be-
queathed by Sir W. Temple, 1856. In good condition ; yellow patina in places.
2580. JET OF FOUNTAIN. High conical top with hole pierced; stem moulded at top and
bottom ; on either side a wing projects, feathers carefully incised. Ht. 22^ in. From
Pompeii. Bequeathed by Sir W. Temple, 1856.
2581. JET OF FOUNTAIN. As the last, but no stem ; instead of the wings, two irregular
projections. Ht. 8| in. From Pompeii. Bequeathed by Sir W. Temple, 1856.
2582. TWO JETS OF FOUNTAINS (?), cylindrical, tapering upwards, surmounted by swans'
heads and necks; the eyes pierced through. Ht. 12^ in. From Torre Annunziata. Be-
queathed by Sir W. Temple, 1856.
2583. TWO DOWELS, in bronze sockets with raised ribs, fixed with lead ; on one is
engraved P. Length of each, 3! in. From the Mausoleum, Halicarnassos, 1S57. Newton,
Discoveries, etc. ii. p. 97. These dowels were fixed in a large stone to the east of the staircase.
2584. THREE DOWELS, cylindrical, bulging towards the middle, for fitting into holes in
the centre of the drums of the columns. Length 6 in. From the Mausoleum, Halicarnassos,
1857. Newton, Discoveries, ii. p. 180.
2585. FOUR DOWELS, filled with lead ; on the end of one is incised 3 ; shape as the last
examples, but one has square ends. Length 3V to \\ in. From excavations at the Temple el
Athene 1'olias, Prienc. Presented by the Society of Dilettanti, 1870.
F. LOCKS AND KEYS (2586-2668).
2586. LOCK, attached to an oblong box, three of the sides being curved vertically outwards ;
one end is flat, and in it is a key-hole with a flap over it. The box has a sliding lid, working in
a groove, in which are four holes in a row with double rings round them. Dimensions,
5 « x 3 1 x '* m- From Tarentum. Castellani, 1873. Slightly corroded.
2587. LOCK-PLATE, oblong, with four holes for attachment ; behind it is a bolt fixed to a
knob and working in a slit ; below is an oblong slit through which the key is inserted to raise
the bolt. Ht. if- in. Bequeathed by Sir W. Temple, 1856. Upper part injured.
2588. LOCK-PLATE, square, with various holes pierced, and a latch to be raised by the
insertion of a key ; on it are incised and punctured patterns, consisting of a border of chevrons,
and in the centre a bird among foliage. 5| x 4.} in. Much broken.
2589. LOCK-PLATE, circular, pierced with four small square holes (for attachment), and
a =D-shaped key-hole between two oblong ones in the centre. Diam. 8jj- in. From Torre
Annunziata. Bequeathed by Sir W. Temple, 1856.
2590. LOCK-PLATE, in the form of a flat piece of metal, oblong with concave sides, with a
hole at each corner for attachment to the wooden part ; in the middle is a hole for the key in
the form of an F. 3x2^ in. From excavations at Priene, 1870. Presented by the Society
of Dilettanti.
2591. LOCK-PLATE, as before, with rims to cover the wooden part and holes at the corners ;
in the centre, two oblong key-holes and a knob. i\ x if in. Cnidos, 1859. Rather corroded
and broken.
2592. LOCK-PLATE, as the last ; in the middle, two additional holes, one circular, the other
T-shaped; faint concentric circles incised. i\ x 2| in. Comarmond Coll., 185 1. Very thin.
2593. LOCK, in the form of a bolt, with apertures into which pegs are inserted by the action of
the key, and lifted out again by means of the key when the door was opened, to enable the bolt
to slide back ; the apertures are four in number, oblong, and one has a cross-bar across. Length
2 in. Comarmond Coll., 185 1.
2594. LOCK, as before ; four apertures in the shape of double loops, with small diamond-shaped
ones in between, and a triangular one at each end. Length 5| in.
2595. LOCK, as before ; two oblong and three triangular apertures. Length 5| in. From
Torre Annunziata. Bequeathed by Sir W. Temple, 1856.
2596. LOCK, as before ; four triangular apertures forming a square, and next to them six
forming a circle ; two holes pierced in the thicker end. Length 2| in. Comarmond Coll., 185 1.
2597. LOCK, as before ; six circular apertures, with two lozenge-shaped in between, and a tri-
angular one at each end ; at one end of the bolt is a square hook ; in the other, a T-shaped
piece cut out. Length 3J in.
2598. THREE LOCKS, in the form of flat pieces of metal, with a hole in one end for a chain or
wire, and at the other end an upright square staple for a bolt. Length 3! to 4 in. From Corfu.
Woodhouse Coll., 1868.
2599. LOCK, in the shape of a horse, with remains of harness on the head and body ; a hole in
the back of the neck, another at the muzzle, and a trefoil-shaped hole pierced lengthways through
the body ; eyes not indicated. Length \\ in. Comarmond Coll., 1851. Feet lost.
OJ-
CATALOGUE OF BRONZES.
2600. LOCK, in the form of a box, oval, with knobs round it ; on the lid, a head in relief; the
lid opens with a hinge by means of a bolt-hole on one side ; a chain is attached consisting of
oblong links joined by swivels. Ht. if in. Hamilton Coll. 6S.
2601. LOCK, of wood, with a bronze plate of oval shape in front, in which is a key-hole with
flap over it working on a bu ton, which is lifted to insert the key. Ht. i\ in. Comarmond
Coll., 185 1. Much worn and injured.
2602. LOCK in the form of a cylindrical box, with bands all the way up of double and triple
rings ; it has a lid in which are perforations, one oblong, one in the shape of a key-hole, and six
circular, of which three are smaller than the other three ; in the bottom are several holes stopped
up. Ht. 2J in. Diam. 2\ in. Payne Knight Coll. Surface rather damaged.
2603. LOCK, as the last; only two perforations in the top, one oblong and one of key-hole shape.
Ht. 2 J in. Diam. 2~ in. Towneley Coll. Much corroded.
2604. LOCK, exactly as the last ; an iron key with pear-shaped ring handle is fixed in the key-
hole. Ht. 2J in. ; with the key, 5| in. Diam. if in. Hamilton Coll. 74.
2605. LOCK, in the form of a box larger in front than behind, with a smaller piece attached
below ; at the top is a spike for fixing the lock in the door, in the form of a nail as Nos. 3191—
3194, incised with patterns of crosses alternating with pairs of upright lines, and an animal
running to r. On the lid, which works on a hinge, is a Gorgoneion in relief, the nostrils and
open mouth forming the key-hole ; in the lower part is another key-hole of irregular shape,
round which circles and dots are incised. Ht. 3f in.
2606. KEY, consisting of ring and wards at right angles, in which a series of parallel grooves
are cut. Length i| in. Diam. | in. From Amathus, Cyprus ; excavated under the Turner
bequest, 1894. Somewhat injured.
2607. KEY, with ring-handle, shaft, and wards in the form of two short teeth [J □ (I between
two long ones. Length 2 in. Presented by Gen. Meyrick, 1878.
2608. KEY, as before, with three thick teeth in the wards. Length i| in. Presented by Gen.
Meyrick, 1878. Rather worn.
2609. KEY, with flat top, concave on the upper edge, hollow shaft, and wards with five holes
pierced in quincunx fashion and three teeth down the outer edge. Length 1 \- in. Presented
by Gen. Meyrick, 1878.
2610. KEY, with large thin ring, hollow shaft, and wards with two holes pierced. Length if in.
Presented by Gen. Meyrick, 1878.
2611. KEY, with ring-handle, square moulded top to shaft, and wards at right angles, with
three teeth, the outer one slit through diagonally. Length 2| in. Presented by Gen.
Meyrick, 1878.
2612. KEY, with flat ring, and wards at right angles ; four teeth, the alternate ones divided in
two. Length \\ in. Presented by Gen. Meyrick, 1878.
2613. KEY, with large thick handle, shaped like a sistrum, with wards at right angles, bent
twice round at the end ; six teeth. Length 2*s in. Presented by Gen. Meyrick, 1878.
2614. KEY, with large ring, and wards with six teeth. Length 2 in. Presented by Gen.
Meyrick, 1878.
2615. KEY, with flat ring, on the top of which are two points, square shaft, and wards at right
angles, with five triangular teeth. Length 1 £ in. Presented by Gen. Meyrick, 1878.
LOCKS AND KEYS. 535
2616. KICV, attached to a ring by a rivet, with elaborately-moulded hollow shaft, on which are
patterns of dotted circles, and wards with two teeth. Length i{ in. Presented by Gen.
Meyrick, 1878.
2617. KEY, with thin ring, and wards at right ang'es, with five triangular teeth. Length i| in.
Presented by Gen. Meyrick, 1878.
2618. KEY, with ring, short square shaft, and wards at right angles, with four oblong teeth.
Length 1^ in. Presented by Gen. Meyrick, 1878.
2619. KEY, consisting of a ring and wards, the latter hollowed out in j 1 form. Length
I in. Presented by Gen. Meyrick, 1878.
2620. KEY, as before ; wards flat, with a rectangular notch cut out. Length \ in. Presented
by Gen. Meyrick, 1878.
2621. KEY, as before, with hollow shaft and plain square ward. Length | in. Presented by
Gen. Meyrick, 1878.
2622. KEY, as before, with \J~~~ j pattern cut in wards ; on the remaining part, an incised
pattern. Length J in. Presented by Gen. Meyrick, 1878.
2623. KEYS, two in number, with ring, short shaft, and wards at right angles, formed of ten
and seven solid tubes respectively, placed close together. Length if and 1^ in. Presented by
Gen. Meyrick, 1878.
2624. KEY, working on a swivel on a ring ; hollow shaft ; two holes cut in wards. Length i|
in. Presented by Gen. Meyrick, 1878.
2625. KEY, as the last ; wards f|§||§| • Length ij in. Presented by Gen. Meyrick, 1!
2626. KEY, with ring, flat, with hollow shaft and wards with four teeth. Length if in.
Presented by Gen. Meyrick, 1878.
2627. KEY, with ring, short square shaft, and wards at right angles, with three teeth, the middle
one slit diagonally through. Length i| in. Presented by Gen. Meyrick, 1878.
2628. KEY, with ring, hollow shaft and wards l' — H. Length l| in. Presented by Gen.
Meyrick, 1878.
2629. KEY, with small ring, and square moulded hollow shaft with a knob either side. Length
1 | in. Presented by Gen. Meyrick, 1S78. Wards worn away.
2630. KEY, with handle in form of a double volute ; wards plain. Length i~ in. Presented by
Gen. Meyrick, 1878.
2631. KEY, with hexagonal top, pierced ; moulded shaft ; wards with two oblong and two
triangular teeth. Length z\ in. Presented by Gen. Meyrick, 1878. Worn.
2632. KEYS, two in number, with hole in upper part, through which passes a ring of wire, the
ends knotted together in a double knot ; hollow shaft ; wards plain. Length if and i| in.
Presented by Gen. Meyrick, 1878.
2633. KEY, with thick ring at top and cross-piece below ; three projections from lower end ;
wards in form of cross in square. Length 3I in. 1850.
2634. KEY, with ring and cross-piece, as last ; double wards : (f
with three teeth. Length i| in. 1850.
g
; (2) at right angles,
336 CATALOGUE OF BRONZES.
2635. KEY, with small ring at top and four-sided stem ; wards at right angles with four
triangular teeth. Length 2| in. 1852.
2636. KEY, with small ring and moulded top ; flat shaft with a notch at the end for raising the
bolt. Length i\ in. Comarmond Coll., 185 1.
2637. KEY, with ring, and wards at right angles, with five teeth close together. Length \\ in.
Towneley Coll.
2638. KEY, working on a swivel on a ring ; wards with three oblong slits. Length \\ in.
Towneley Coll.
2639. KEY, consisting of ring and wards with nine teeth. Length 1 in. Towneley Coll.
2640. KEY, attached at the upper end to a ring ; plain wards and hollow shaft. Length | in.
Towneley Coll.
2641. KEY, with ring, flat shaft, and wards at right angles with four long teeth. Length \\ in.
Towneley Coll.
2642. KEY, as last but one ; no shaft. Length J in. Towneley Coll.
2643. KEY, with conical top, moulded, like the roof of a Lycian tomb, supported on four pillars ;
wards at right angles, much worn, the spaces filled up. Length 3J in. Hamilton Coll. 146.
2644. KEY working on a large ring on a swivel ; the ring has a knob attached ; the stem is split
down, and ends in an elaborate arrangement of wards. Length 2>i in- From Corfu. Wood-
house Coll., 1868.
2645. KEY. with loop-handle, and stem bent at right angles, ending in a series of three wards,
each with two teeth. Length 8j in. Bequeathed by Sir W. Temple, 1856.
2646. KEY, consisting of ring and wards, the latter flat, with rectangular notch cut out.
Length \ in. Castellani, 1872.
2647. KEY, consisting of ring and wards, the latter hollowed out, as No. 2619. Length f in.
Castellani, 1872.
2648. KEY, as before ; wards consisting of a tooth and a flat piece projecting from the shaft.
Length | in. Castellani, 1872.
2649. KEY, as before, with very thin ring and wards with an oblong slit in the centre and a notch
below. Diam. of the ring £- in. Castellani, 1872.
2650. KEY, as before ; with elaborate wards; three teeth. Length \ in. Castellani, 1872.
2651. KEY, with ring and flat wards pierced in the form of the letters YITO^, 'Yyia. Length 1 1 in.
Bassah, near Tyre, 1895.
2652. KEY, with ring, and wards at right angles with three teeth, the middle one slit diagonally
through. Length 2| in. Blacas Coll., 1867.
2653. KEY, as the last, tapering down and curved at a right angle, with four long teeth.
Length i\ in. Blacas Coll., 1867.
2654. KEY, as before ; moulded stem ; two large and four small teeth alternating. Length
2\ in. Blacas Coll., 1867.
2655. KEY, with solid head and wards ; chain attached ; three small holes in head. Length
2| in. Blacas Coll., 1867.
2656. KEY, attached to a ring by a rivet ; hollow moulded shaft ; oblong slit in wards.
Length i\ in. Blacas Coll., 1867.
LOCKS AND KEYS. 33 J
2657. KEY, with ring; square moulded shaft, and wards at right angles with five triangular
teeth. Length i£ in. Blacas Coll., 1867.
2658. KEY, with top in the form of a double volute with plinth below; shaft moulded ; wards
elaborately cut, with four teeth projecting from one side at right angles. Length 2J in.
2659. KEY, with notched ring and cross-piece ; wards with four openings and four teeth pro-
jecting from one side at right angles. Length 2 j{- in. Patina.
2660. KEYS, two in number, cylindrical and fluted, with ends of smaller diameter to fit into the
lock. Length 1 } and z\ in.
2661. KEY, with sistrum-shaped handle and wards with two oblong slits and two teeth.
Length i\ in.
2662. KEY, with hexagonal top, pierced, and wards at right angles, with four triangular teeth
only partially cut through. Length i\ in.
2663. KEY, with ring and wards with three holes pierced and three teeth. Length 2f in.
2664. KEY, attached to ring by rivet ; hollow moulded shaft ; hole pierced in ward. Length
1 sin.
2665. KEYS, four in number, consisting of ring and wards, as No. 2619, etc. ; one has incised
patterns on the ring; one key has a hollow shaft and plain wards. Length § to \ in.
2666. KEY, with ring, short shaft, and wards at right angles with ten tubes, as No. 2623.
Length \\ in.
2667. KEY, attached to ring by rivet ; hollow moulded shaft ; wards incised. Length \\ in.
2668. KEY, attached to ring; hollow shaft; two sets of wards, the lower with double teeth.
Length 1 in.
G. MISCELLANEOUS IMPLEMENTS
(2669-2703).
2669.
2670.
2671.
2672.
2673.
2674.
2675.
2676.
2677.
2678.
2679.
2680.
2681.
2682.
2683.
2684.
2685,
2686
COMPASSES, pair of. The heads of the two arms lie flat on eich other, and are joined
by a rivet passing through them, projecting considerably on one side as a support for ihe hand.
Length 5! in. Towneley Coll.
COMPASSES, two similar pairs of. Length y} in. and 7 in.
COMPASSES, as before. Length 7 in. Payne Knight Coll. Incised
markings on the legs.
COMPASSES, as the last. Length 3 -J in.
COMPASSES, with a hinge at the head. Length 5 -J in. Towneley
Coll. Broken.
COMPASSES, working on a hinge. The legs end in moulded
knobs ; something has been attached to one by a hinge. Length 7 1 in.
COMPASSES, of the modern type, the legs not riveted together, but
fitting into one another. Length ig- in.
COMPASSES, as the last, with square head, the upper part of the
legs moulded. Length 4| in.
COMPASSES, with double-pointed legs, riveted together two-thirds
of the way up. Ht. 7g in. Towneley Coll.
COMPASSES, as the last. Length 7 in. From Corfu. Woodhouse
Coll., 1868.
FOOT-RULE, measuring "09675 English feet, or ii*6i inches ; hinge
in the middle ; apparently not divided into inches. Hamilton Coll. 56.
INKSTAND. Cylindrical, with projecting rim above and below; the
stem is moulded, some of the mouldings being finely hatched ; lid with hinge
in which is a small oblong aperture ; round it is an ivy-wreath inlaid in
silver. Ht. 2 in. 1895. Fig. 77 = No. 2678.
STYLUS with spike at one end and at the other a small disk bent at
an angle, probably for erasing; the latter end of the stem is moulded. Length 4J- in. From
Rome. Burgon Coll.
TWO STYLI, as before ; a hole pierced in the moulded part of one. Length 4^ and 5 } in.
Towneley Coll.
STYLUS, as before. Length 5| in. Comarmond Coll., 185 1.
FIVE STYLI, as before ; one has a knob in the moulded part, in which a hole is pierced.
Length 3] to si in.
SIX STYLI, with spike and disc as before ; middle part plain, except one which is twisted.
Length 3I to 5^ in.
FOUR STYLI, with one end flat and spade-shaped, the other pointed. Length 3J to 4« in.
Two presented by General Me) rick, 1878.
MISCELLANEOUS IMPLEMENTS.
339
2687. THREE STYLI, similar type ; the middle part is twisted ; on the flat part of one is
incised : I VI. Length 3^ to 4j in. From Corfu. Woodhouse Coll., 1868.
2688. INSTRUMENT of uncertain use, with elaborately moulded handle, and flat elongated
leaf-shaped blade, ending in a knob. Length 6| in. Presented by General Meyrick, 1878.
Cf. Roach-Smith, Collect. Antiq. iii. 34, 3.
2689.
2690.
2691.
2692.
2693!.
2693,.
26933.
2694.
2695.
INSTRUMENT, as the last. Length \\ in. Towneley Coll. End of handle broken.
STYLUS, or needle. Length %\ in. Curium, Cyprus, 1895 (excavated under the Turner
bequest).
[It is possible that the objects numbered 2681-2685 and 2688-2690 are surgical instru-
ments or implements used in the toilet ; Nos. 2686 and 2687 alone can be certainly identified
as styli.]
DISKOS, as No. 248, but quite plain. Diam. 9] in. Weight 8 lbs. 13 oz. From Corfu.
Woodhouse Coll., 1868.
ATHLETE'S RING, with four knots or moulded rings. Diam. 5 in. Towneley Coll.
See Friederichs, Kleinere Kunst u. Industrie, p. 264 ; Schumacher, Bronzen zu Karlsruhe, No.
873 ; Arch. Zeit. 1876, p. 24. Most of these objects have been found in Picenum or there-
abouts ; the attribution of their use to athletes is not much more than a conjecture.
Diam. 6^ in. Towneley Coll.
2696
2697
2698
2699
Payne Knight Coll.
ATHLETE'S RING, as the last, with six knots.
ATHLETE'S RING, as the last. Diam. 8| in.
ATHLETE'S RING, as before. Diam. 81 in.
SCOURGE. The handle has a knob at the end and another in the middle, and ends in
two rude animal's heads ; it is pierced with two holes for the cords ; twelve large and seventeen
small beads of bronze, strung on modern cords, remain from the ancient lashes. Length of
handle, 6| in. From Rome. Castellani, 1873.
MODEL OF TWO-HORSE CHARIOT. The near-horse is lost ; between them is the
pole, ending in a ram's head ; the horse rears up in a spirited manner. The chariot is of open
work, the upright part in front being of semicircular form ; the wheels have eight spokes. This
may be regarded as a fairly exact representation of the ordinary Roman biga. Ht. 7 \ in. Length
10 in. Found in the Tiber ; acquired by the Duke of St. Albans in Rome, and purchased from
him, 1894. The base is ancient, but does not belong to this group.
END OF CHARIOT-POLE (?), in the form of a cylindrical socket, inlaid outside with
silver ; on the end is a bust of a youthful Satyr springing from a calyx ; he has thick locks, and
small wings over the temples; he blows a horn which he holds in both hands. Ht. 4 in.
Length 4 in. Acquired from the Earl of Carlisle, 1896.
END OF CHARIOT-FOLE, as the last, but not silvered, terminating in bust of boy
springing from a calyx ; he wears a wreath with three points and chlamys fastened on r.
shoulder. Ht. 3 in. Length ■£ in. Acquired from the Earl of Carlisle, 1896. Rather coarse work.
END OF CHARIOT-POLE, as before ; moulded rings, and engrailed edges to the ends ;
terminating in bust of Amazon in Phrygian cap and chiton fastened on shoulders. Ht. 3^ in.
Length 3^ in. Acquired from the Earl of Carlisle, 1896.
TWO PARTS OF CHARIOT (?), each consisting of a collar with wide rim, pierced with
a hole on one side ; on the rim is a support with a volute either side, to which is attached the
figure of a tortoise in relief, at right angles to the rim ; the scales of the shell are octagonal,
with small lozenges in the interstices. Diam. of coll irs, 6.5 in. and 7 J in. Acquired from the
Earl of Carlisle, 1896. Rathtr rough work.
Z 2
34-0 CATALOGUE OF BRONZES.
2700. AXLE-BOX (?). On the front is a Gorgoneion, with small wings and rich curly hair ; a
ring on the top of the head. Ht. 3! in. Diam. 7-f in. Acquired as beiore.
2701. DISC, perhaps from an axle-box, with lion's mask in relief, pierced with four holes ;
mouth hollow. Diam. 4^ in. Acquired as before. Part broken away.
2702. PART OF CHARIOT, probably from the axle, a cylindrical piece of bronze with a lion's
head in relief on the front surrounded by bead-moulding, and a wide rim edged with bead-
moulding round the other end. Ht. 4l in. Bequeathed by Sir W. Temple, 1856.
2703. FOUR DISCS ending in lions' heads in relief, probably from chariot-axles. Diam. 4 in.
From Hungary. Hertz Coll., 1859 (Sale Cat. 1015).
34i
H. ARMS AND ARMOUR (2704-2910).
I. ETRUSCAN ARMOUR AND WEAPONS (2704-2734).
2704. SHIELD, circular, probably intended for mounting on leather; in the centre is a boss
with patterns of stars and raised knobs ; round this are concentric bands of pattern in low
relief, as follows : Stars, double lotos-flowers ; cross-lines ; Sphinxes passant to 1. ; lines, lotos-
flowers, and stars ; lines and stars ; Sphinxes as before ; two rows of stars and lines and one
of lotos-flowers ; an interlacing chain of lotos-flowers ; guilloche, and stars. Diam. 2 ft. Il| in.
Mies. Ital. di Class. Ant. ii. p. 107 ; Perrot and Chipiez, Histoire de PArt, iii. p. 870 ; cf. Mus.
Greg. i. pis. 18-20, and an almost identical specimen in Karlsruhe (Schumacher, Bronzen zu
Karlsruhe, No. 708).
2705. SHIELD, circular, with a central handle fixed on by two large plates ; the shield is flat,
with convex edge and a wide flat rim. Diam. 2 ft. u in. Much injured and corroded.
2706. SHIELD. The edges are bent over and the centre is deeply hollowed ; the boss is in the
form of a lion's head in relief, with open mouth, and round it are two bands of tongue-pattern.
Diam. ij~ in.
2707. SWORD. The handle is hollowed out for inlaying ; one rivet still remaining, and two
other holes for attachment of the ivory handle. Length 13^ in. End of handle broken off.
2708. SWORD, as the last, with part of sheath, on which are bands of chevron-pattern and
incised lines; down the blade are incised lines. Length 16} in. Campanari, 1839. End of
handle broken off.
2709. SWORD, as before, with part of sheath, ending in two large discs with a moulded piece
between ; ribbed blade. Length 15 in.
2710. SHEATH OF SWORD, ending in a moulded knob. Length ill in. Blayds Coll., 1849.
Top part broken away.
2711. SPEAR-HEAD, cast, with a hole through the lower end. Ht. 3! in. Bequeathed by
Miss Auldjo, 1859.
2712. SPEAR-HEAD, as before. Ht. 13 in.
2713. SPEAR-HEAD, as before, with rivet. Ht. [3! in. Blayds Coll., 1849.
2714. SPEAR-HEAD, as before, with two holes at lower end of blade; circular ornaments.
Ht. n| in. Blayds Coll., 1849.
2715. SPEAR-HEAD, ornamented with incised chtvron-pattern and four circles. Ht. 1 1£ in.
Count Milano's Sale, 1853.
2716. SPEAR-HEAD, with four projecting edges. Length \o\ in. From Perugia. Castellani,
1S73.
2717. HELMET (pileus). The helmet is conical, curving inwards just above the brim, which
is in the form of a vertical band. Ht. 8^ in. From Canino. Presented by General Meyrick,
1878.
2718. HELMET, as the last. Ht. 7! in.
2719. HELMET, as before. Ht. 8^ in. Bequeathed by Sir W. Temple, 1856.
342
CATALOGUE OF BRONZES.
2720. HELMET, as before; round the brim is stamped a double egg-pattern. Ht. 7f in.
Much corroded.
2721. HELMET, with notch either side, and a piece covering the back of the neck ; a wreath
of ivy-leaves and berries in gold leaf is attached to the front. Ht. 7 in. From Vulci.
Canino Coll., 1837. De Witte, Descr. 268. The top is dented in.
2722. HELMET, with cheek-pieces ; the eye-holes and nasal are rendered in relief above and
incised below. On each cheek is a boar incised, turned towards one another ; between them,
and round the lower edge, incised feather-pattern. Ht. j\ in. Fr>>m Vulci. Millingen Coll.,
184.7. Rather broken ; support of crest lost. Kemble, Horae Ferales, pi. 12, fig. 2 ; cf.
Schumacher, Bronzen zu Karlsruhe, pi. 19.
2723. HELMET, as the last, with brim at back ; two holes on top for supports of plumes. Ht.
7.5 in. From Etruria. Bequeathed by Sir W. Temple, 1856.
2724. HELMET. In front, a scroll in low relief ; a ridge runs from front to back ; at the back
is a flap covering the neck ; cross-piece with three sockets for insertion of plumes, turning up at
each end into a tube in which the crest has been inserted (one tube lost). Ht. 8 in. From
Vulci. Burgon Coll. Split up the middle.
2725. HELMET. Hemispherical shape, with a peak behind and a knob on the top. Ht.
7j in. Bequeathed by W. Burges, Esq., 1881 ; formerly in possession of General Meyrick.
2726. HELMET, as the last ; the peak is narrower, and has punctured patterns and hatched
incisions round the edge ; on either i-ide are two rivet-holes for the attachment of cheek-pieces ;
on the knob, scale-pattern incised. Ht. 7l2 in.
2727. HELMET, as before ; on the knob, scale-pattern ; round the edge, moulded cable-pattern ;
very small peak behind. Over the eyes is a narrow projection, within which are two pendant
oval rings. Ht. 8 in. Millingen Coll., 1847. The cheek-pieces are broken, but the hinges
remain.
2728. HELMET, as the last; en the knob, tongue-pattern; round the edge, egg-pattern;
narrow brim. In the brim and on one side are holes. Ht. Jl in. Blacas Coll., 1867.
2729. HELMET, in the form of a skull-cap, with markings in low relief ; on each side is visible
the place of insertion of a plume. Ht. 4 in. : leng'h 9 in. Hamilton Coll. iii. 5. Found on
the battle-field of Cannae, 1752. The lower part is broken away.
2730. HELMET, as the last, but more complete; two supports of crests on top. Ht. d\ in.
Hamilton Coll. iii. 4. Found on the battle-field of Cannae, 1752.
2731. PAIR OF GREAVES. On the thick part of the calf is a double groove, curving round.
Ht. i8~ in. Bequeathed by W. Burges, Esq., 1881 ; from the Meyrick Coll.
2732. TWO PAIRS OF GREAVES, as the last ; one pair has a large palmette incised on each
knee. Ht. of each, \Z\ in.
2733. GAUNTLET, with long wrist-piece, flat part for the palm of the hand and semi-cylindrical
pieces for the fingers and thumb. Length \z\ in. Canino Coll., 1837. De Witte, Descr. 240.
Much injured ; thumb and ends of fingers broken off. Compare Mus. Greg i. pi. 57, fig. 3.
2734. TWO TRUMPETS, curved in a semi-circle, with mouth-piece, formed of two pieces
joined together by a ring in the middle. Length across from end to end, 2 ft. 1 in. and 2 ft. 2 in.
Much corroded.
ARMS AND ARMOUR.
o^fo
II. GREEK AND ROMAN WEAPONS (2735 -2815).
A. SWORDS AND KNIVES (2735 2766).
2735. SWORD, of common type, with cross-piece at top of handle, which has been inlaid ; f( ur
rivets are still remaining ; blade much injured and jagged. Length 16 in. From Ruvo.
Bequeathed by Sir W. Temple, 1856.
2736. SWORD, as the last ; handle broken off; four rivet-holes in blade, which has shallow
ribs. Length 13] in.
2737. SWORD, as before, with six rivet-holes remaining ; on the blade, fine lines on either side
of the rib. Length 21 g in. Blue patina on blade.
2738. SWORD, blade of; two rivet-holes ; fine lines down the blade. Length 16} in.
2739. SWORD, with cylindrical handle bound round with gold wire ; down the blade are fine
lines. Length 16^ in. Handle broken ; blade corroded and injured.
2740. SWORD, with iron blade, and moulded ivory handle with bronze top ; cross-piece or
pommel of bronze
Length 2 ft. 2^ in. 185 1.
2741. SWORD, with iron blade, and moulded bronze handle ending in the head of a lioness or
panther. Length 15I in. Blayds Coll., 1849. Much corroded and broken.
2742. PART OF SWORD IN SHEATH. On the blade, fine lines and two rivet-holes ; the
sheath ends in a large knob. Length 1 if in. From Armento. Bequeathed by Sir W. Temple
1856. Lower end of blade and part of sheath lost ; one side of sheath split up.
2743. HANDLE OF SWORD, with cross-bar at top and groove for insertion of iron blade.
Length 4} in. From Armento. Bequeathed by Sir W. Temple, 1856. The handle is split up
horizontally.
2744. SWORD and part of sheath ; double lines down blade ; handle ends in a cross-piece
with curved ends and a spike in the middle ; the sheath ends in a knob. Length 23^ in.
Castellani, 1873. Patina. Point of sword broken off.
2745. DAGGER of iron, in bronze sheath ; the sheath is split up and the ends broken away.
Length 13^ in. ; of the sheath, nf in. Castellani, 1865. Both dagger and sheath are much
injured and corroded.
2746. DAGGER, with iron blade, and moulded bronze handle, which has a disc at either end.
Length 8 in. Payne Knight Coll. Much injured and corroded.
2747. DAGGER, of short stumpy form, with broad blade, and cross-piece (pommel) at the top.
Length 5|- in. Handle broken.
2748. BLADE of sword or dagger, plain and flat, broken straight off. Length 9 in. Towne-
ley Coll. '
344 CATALOGUE OF BRONZES.
2749. DAGGER, with ribbed blade, and six rivets still remaining for attachment of ivory
handle. Length 13 J in. Cameiros, 1861. Worn and corroded ; handle broken away.
2750. DAGGER, blade of, with three rivets in the top for fastening on the handle. Length
9! in. Cameiros, 1861.
2751. DAGGER. On the blade are shallow groovings, bordered by an incised chevron-pattern ;
in the top are two rivets, and on the handle are three more for attachment of ivory inlaying ; a
wire is twisted round the handle. Length 14! in.
2752. DAGGER, long and tapering, with shallow rib down the middle. Length 14^ in. From
Corfu. Woodhouse Coll., 1868. Handle lost.
Fig. 79 = No. 2753.
2753. DAGGER, or short sword. On the blade, four lines incised each side ; the handle has
been inlaid, and has a cross-piece at the end, and two rivets in the middle for the inlaying ; at
the top of the blade, a horn each side. Length 15J in. From Corfu. Woodhouse Coll., 1868.
2754. SWORD. The handle has been inlaid ; four rivet-holes still remain for fastening.
Length 22- in. From Scutari, Albania. Presented by C. West, Esq., 1880.
2755. KNIFE, with spike for insertion in the handle, which is lost ; the blade is jagged. Length
io| in. Bequeathed by Sir W. Temple, 1856.
2756. KNIFE, with narrow curving blade with thickened back ; spike for insertion in handle.
Length 7| in. 1850. Repaired.
2757. KNIFE, as the last ; groove along back. Length 6| in. 1856. Repaired.
2758. KNIFE, as before ; plain blade. Length 8| in. Millingen Coll., 1847.
2759. KNIFE, with curved blade and hooked handle (forming three sides of a square) ; the
handle ends in a ring, and has a small spike near the tnd. Length 17 in. From Praeneste ;
found in 1786 in a tomb with the cista, No. 743. Towneley Coll.
2760. KNIFE, as the last ; ring attached at outer angle of handle. Length 16 in.
2761. KNIFE, as before, with iron blade ; the handle has a ram's head at either end. Length
133 in. Found in 1819 at Carpentras, Vaucluse, France. Comarmond Coll., 1851. Blade
much corroded ; handle much worn.
2762. KNIFE. Very thin ; flat handle ending in a ring ; curved blade. Length 5} in. Point
broken.
2763. KNIFE, resembling the early Cypriote type ; the handle is straight and thin, ending in a
hook ; long leaf-shaped blade. Length 8| in. Presented by G. Witt, Esq., 1868.
2764. KNIFE, as the last ; double handle, spirally twisted, formed of two cords of twisted wire
laid together. Length 7^ in. Presented by G. Witt, Esq., 1868.
2765. BLADE OF KNIFE. Length 3^ in. Cyprus, 1884. Very much corroded.
2766. PART OF BLADE OF KNIFE, with two rivets and part of a spike for insertion into
handle. Length 3| in. Cyprus, 1884. Corroded.
ARMS AND ARMOUR. 345
B. SPEARHEADS (2767-2796).
2767. SOCKET, for butt end of spear, made of two separate pieces, the haft and a f >rked
termination which is ribbed ; between the prongs is a cross-bar with support ending in volutes.
Length J\ in. From Tell Nebesheh. Presented by the Egypt Exploration Fund, 18S8.
Petrie, Tanis II. (Fourth Memoir of the Fund), pi. 3, p. 21. From a " Cypriote " tomb of about
the sixth century B.C.
2768. SOCKET for butt-end of spear, as the last, but with pliin prongs, all in one piece.
Length 6| in. From Tell Nebesheh, 1888 (tomb 14 or 18). Tunis II. pi. 3, p. 21. P'rom a
" Cypriote " tomb of about the sixth century B.C.
2769. SPEAR-HEAD. Long blade with central rib and narrow socket. Length 9^ in. From
Tell Nebesheh, 1888 (tomb 17). Tanis II. pi. 3. Broken in two pieces. Found in a " Cypriote "
tomb of about the sixth century B.C.
2770. SPEAR-HEAD. The haft is split up and bound round the end with a ferule ; in it are
two holes for rivets. Length 9I in. From Amathus, Cyprus, 1894 ; excavated under the
Turner bequest (tomb 55). Corroded.
2771. SPEAR-HEAD, without hollow haft; down the middle is a rib. Length 6} in. From
Amathus, Cyprus, 1894 (Turner bequest). Corroded.
2772. SPEAR-HEAD, with long ribbed blade shaped like a flag ; two holes for fastening to
shaft. Length 8| in. Olympia, 1865.
2773. SPEAR-HEAD, as the last, but the blade is more of a lozenge-shape. Length 7 in.
Olympia, 1865.
2774. SPEAR-HEAD. Length 8$ in. Cameiros, 1861. Both ends rather broken ; surface
much corroded.
2775. SPEAR-HEAD. Solid haft; four edges to blade. Length 13^ in. Cyprus, 1869. In
three pieces, all much worn ; the haft split up.
2776. SPEAR-HEAD (?). Blade broad at first, then tapering ; instead of a hollow haft, four
rivet-holes in the broad part. Length 5-f in. Athens, 1865.
2777. SPEAR-HEAD. Stumpy shape, with broad thick rib; two holes in haft. Length
5! in. From Corfu. Woodhouse Coll., 1868. Edges much worn.
2778. SPEAR-HEAD (?). Blade very thin, with two slits in the middle ; no haft, but a spike,
apparently for insertion in a wooden socket. Length 9! in. From Corfu. Woodhouse Coll.
2779. SPEAR-HEAD. Solid haft, with a small hole through the end. Length 6| in. Cameiros,
1864. Corroded.
2780. SPEAR-HEAD. A plain tapering head, with two holes for rivets and two spikes pro-
jecting just above. Length 4! in. Bequeathed by Sir W. Temple, 1856.
2781. SPEAR-HEAD. The blade spreads out into a disc at the lower end ; two holes in the
haft. Length 2 ft. ll\ in. From Sicily. Castellani, 1873.
2782. SPEAR-HEAD. Length 4! in. From Rome. Burgon Coll. Much corroded ; end of
blade lost. Two holes in haft.
2783. SPEAR-HEAD. As the last. Length 12J -.in. Talamone, Tuscany, 1 891. Haft broken ;
corroded.
2784. SPEAR-HEAD. Sharp point and strongly-projecting rib ; holes in haft. Length io| in.
From Bari. Bequeathed by Sir W. Temple, 1856. Edges rather broken.
346 CATALOGUE OF BRONZES.
2785. SPEAR-HEAD. On the haft, punctured lines and concentric circles. Length 135 in.
From Bari. Bequeathed by Sir W. Temple, 1856.
2786. SPEAR-HEAD. Double rib with herring-bone pattern along it ; on either side of the
haft a quincunx of concentric circles (one pierced through). Length 14^ in. Blacas Coll., 1867.
2787. SPEAR-HEAD. Plain rib ; holes in haft. Length \o\ in. Blacas Coll., 1867.
2788. SPEAR-HE\D. The haft is octagonal, and ends in a moulded ring; the blade is
lozenge-shaped. Length iijin. Blacas Coll., 1867.
2789. SPEAR-HEAD. Stumpy form ; holes in haft. Length 4I in. Blacas Coll., 1867.
Corroded.
2790. SPEAR-HEAD. Polygonal haft, in which are two holes. Length \i\ in. Castellani,
1865.
2791. SPEAR-HEAD. Blade spreading into a disc at lower end ; thick rib of/ N section ;
holes in haft. Length 13! in. Payne Knight Coll.
2792. SPEAR-HEAD, with three edges. Length 13I in. Payne Knight Coll. Much restored.
2793. SPEAR-HEAD, with plain rib, and two holes in the haft, on which are incised concentric
circles and punctured lines. Length 13J in.
2794. SPEAR-HEAD. Usual type. Length 11 in. Towneley Coll. Very rude ; injured in
places.
2795. SPEAR-HEAD. Usual type. Length 7J in.
2796. SPEAR-HEAD, curved round like a sickle ; down the centre a thick ridge with groove
each side. Length Vj\ in. Castellani, 1873.
C. ARROW-HEADS (2797-2815).
These objects, mostly from Greek sites, may be classified in the following manner :
Type A. Plain flat head, with solid shaft.
Type B. Resembling a spear-head, with hollow shaft, and rib down to the point.
Type C. As type A or type B, but barbed.
Type D. As type C, but with narrow solid shaft ending in a knob where it unites with the
head.
Type E. Long narrow four-sided head, with shaft as in type D ; mostly found in Cyprus.
Type F. As type B, except that the head has three concave sides, each with a rib ; hollow
shafts.
Type G. Plain pyramidal heads, generally three-sided, with hollow shafts ; sometimes a hole
is pierced in the head.
Type H. Heads as type B or type F, with a spur attached half-way down the shaft.
Illustrations of these eight types are given on opposite page.
2797. ARROW-HEADS, two in number, of types D and F respectively. Length \\ in. and
2,\ in. Payne Knight Coll. The first has long barbs, and the butt is hollow.
2798. ARROW-HEADS, two in number, of types A and C. Length i\ and 2^ in. Towneley
Coll.
2799. ARROW-HEADS, two in number, of type F. Length \\ and 2| in. From Athens.
Burton Coll.
ARMS AND ARMOUR.
347
2800. ARROW-HEADS, two in number, of type E. Length 2 J and 2* in. Acquired 1833;
Cypriote type.
2801. ARROW-HEAD, of type E. Length 2J in. From the S okes Coll., 1854.
2802. ARROW-HEAD, of type G, thick and heavy, with a groove along each side. Length
i| in. Bequeathed by Sir W. Temple, 1856.
2803. ARROW-HEADS, twenty-three in number, five of type B, om of type C, one of type D,
seven of type F, and nine of type H. Length 1 to if in. From Calymnos ; obtained by Lord
Stratford de Redcliffe, 1856.
2804. ARROW-HEADS, eight in number, four of type B, one of type G, and three of type H.
Length of each, 1 in. Sardinia, 1856.
2805. ARROW-HEADS, two in number, of type G. Length i| in. and \ in. Kertch, i860.
2806. ARROW-HEADS, four in number, one of type B, three of type G. Length J to if in.
From Marathon. Strangford Coll., 1864.
2807. ARROW-HEADS, three in number, one of type B, one of type F, one of type H.
Length i^ to if in. Cameiros, 1864.
2808. ARROW-HEADS, ten in number, three of type D, one of type E, two of type F, two of
type G, two of type H. Length \\ to 2| in. Greece, 1865.
A
C. D. E F.
Fig. 80. Types of Arrow-Heads.
G.
H.
2809. ARROW-HEADS, nine in number, one of type A, six of type E, and two of type F.
Length i* to 4 in. From Cyprus: the first was acquired in 1884; the others presented by
D. E. Colnaghi, Esq., 1866.
2810. ARROW-HEADS, two in number, of types D and G. Length 2| and 1 in. Blacas
Coll., 1867.
2811. ARROW-HEADS, eight in number, one of type G, the others, type D. Length if to
3| in. From Corfu. Woodhouse Coll., 1868.
2812. ARROW-HEAD, of type B. Length i| in. From Ephesus ; excavated 1874.
2813. ARROW-HEADS, eight in number, three of type D, one each of types A, B, C, F, G.
Length \\ to i\ in. From Hierapolis (Pambuk-Kalessi). Presented by Rev. Greville Chester,
2814. ARROW-HEADS, ten in number, of various types. Length 1 to 2| in. From Naucratis.
Presented by the Egypt Exploration Fund, 1886 and 1888.
2815. ARROW-HEADS, forty-one in number, two of type A, seven of type B, five of type C,
six of type D, eighteen of type G, and three of type H. All of unknown provenance.
348 CATALOGUE OF BRONZES
III. GREEK AND ROMAN ARMOUR (2816-2876).
A. HELMETS (2816-2844).
2816. HELMET of Corinthian type, without crest ; round the edge is a row of small holes.
Ht. 8y in. Obtained in Greece by the fourth Earl of Aberdeen in 1803, and acquired at the
Argyll House Sale in 1862. It was originally found with the marble head, Cat. of Sculpture, i.
No. 559, but does not belong thereto. Front part broken away, and part of the back.
2817. HELMET. Round the temples is a groove for a wreath ; eyebrows indicated by a raised
ridge ; in front is the head of a youthful Satyr in relief ; the cheek-pieces are fastened on by
hinges. Ht. 9 in. From Athens (?). Presented by W. T. Belt, Esq., 1883; formerly in
collection of Earl Cadogan. Nasal lost, and cheek-pieces injured.
2818. HELMET of Corinthian type, with nasal and cheek-pieces, and pointed top ; the upper
part projects slightly ; brim at back of neck. Ht. 9 in. Corinth, 1873. Corroded; edges injured.
2819. HELMET, with nasal and cheek-pieces, rounded top, and brim at back of neck ; round
the edge are incised egg- and other patterns. Ht. 9^ in. From Santa Maura. Presented by
Baron d'Everton, i860. Brow beaten in.
2820. HELMET of Corinthian type, with nasal and cheek-pieces, round which is a border of
plait-pattern, incised ; piece for attachment of crest remaining on 1. side. Ht. 8^ in. From
Apulia. Castellani, 1873. Patina ; edge injured behind.
2821. HELMET, as the last ; eye-brows indicated in low relief; small holes all round the edge,
and incised border of pendants ; brim at back of neck. Ht. 8| in. From Apulia. Castellani,
1873. Top injured.
2822. HELMET. The top is ridged, and projects over the lower part ; eyebrows in low relief,
cheek-pieces, but no nasal ; on either side a notch. Ht. 9} in. From Apulia. Castellani, 1873.
2823. HELMET, with nasal and cheek-pieces ; over the eye-holes are eyebrows in low relief.
On the top each side a high flat curved piece is inserted, on which the plume was fixed ; in the
centre are holes and remains of rivets for the insertion of the central plume ; brim at back of
neck. Ht. 16^ in. From Apulia. Castellani, 1873.
2824. HELMET, or pileus, tall and of a conical shape, with a small ring and a flat object
shaped like a pelta attached in front, and beading round the back. On the top is a scroll
supporting a bent piece ending in two ivy-leaves, in which the crest was fixed, and on either
side is a flat upright piece in the form of a Gryphon's head and neck, with crest, attached by a
heart-shaped piece to the helmet. Ht. i6| in. From Ruvo. Castellani, 1873.
2825. HELMET of the Corinthian type, with nasal and cheek-pieces, spreading out at the back
of the neck ; on either side is a small notch. Ht. 8 in. Blacas Coll., 1867.
2826. HELMET, as the last, the nasal projecting further down ; the eyebrows are indicated by
incised markings. On the nasal are incised palmette and feather patterns. Ht. y\ in. Blacas
Coll., 1867. Top of head beaten in ; point of left cheek-piece wanting ; back split up.
2827. HELMET, as before. Round the edges of the eyes and nasal are small holes, and small
spikes at intervals ; behind them, tongue-pattern. Height 8j in. Blacas Coll., 1867. Crown
and neck injured ; traces of red paint.
2828. HELMET, with nasal and cheek-pieces ; on the top is a socket for a crest, in which are
remains of two pieces of wood. In front is a palmette-and-lotos pattern in low relief, and over
the eyes are other patterns, sunk tongue-pattern, and discs in low relief ; round the edges,
incised lines, with palmettos at the corners and a row of perforations, continued round the
cheek-pieces. Ht. 10] in. From Ruvo. Bequeathed by Sir W. Temple, 1856.
ARMS AND ARMOUR. 349
2829. HELMET, with nasal and clumsy cheek-pieces ; the upper part is dome-shaped ; round
the edge are perforations. Ht. 8^- in. Bequeathed by Sir W. Temple, 1856. Top and lower
edge injured.
2830. HELMET, with nasal and cheek-pieces, and a ridge across the top with two loops in it ;
the cheek-pieces have been in the form of rams' heads in relief, but the reliefs are lost. On the
brow is an imitation of carefully-curled hair, and above this are tongue and guilloche patterns,
all carefully incised. The top part projects over the lower ; on either side is a notch. Ht.
iof in. From Ruvo. Bequeathed by Sir W. Temple, 1856. Corroded.
2831. HELMET, with small nasal and large cheek-pieces, and brim at back of neck ; eyebrows
in low relief ; at the top are three forked stands (two broken) for crests. Ht. 10] in. From
Ruvo. Bequeathed by Sir W. Temple, 1856. Corroded.
2832. HELMET, in shape like the last, with small nasal, large cheek-pieces, eyebrows in relief
(below which are incised small eyes), and three stands for crests, formed of double strips of
metal. Round the edge is incised a herring-bone pattern, and on each cheek-piece a boar
charging ; in the field, two uncertain objects. Above the r. cheek-piece is a flower, and on
either side is an elaborate plant with flowers ; at the back is a Sphinx seated on hind-legs to r.,
with wings recurved and wearing a cap or fillet, confronted by a lion seated to 1. Ht. 10^ in.
Fiom Pomarico, Basilicata. Bequeathed by Sir W. Temple, 1856. Stands of crests broken.
Graeco-Italian type, of 3rd cent. B.C.
2833. HELMET, with nasal, and brim to protect the neck ; in front is a horse's head in high
relief. Ht. 7 in. Presented by General Meyrick, 1878. Much corroded ; top beaten in.
2834. HELMET, with nasal and cheek-pieces ; in front, imitation of curly hair (?) all round,
and above, cable-pattern and lotos-buds incised. Ht. 8 J in. Presented by General Meyrick,
1878. Split open in front, nasal broken, and cheek-pieces and back injured.
2835. HELMET, with nasal, cheek-pieces, and brim at back of neck; pattern of dots and
pendants all round the edge ; two small holes at back. Ht. 8| in. Bequeathed by W. Burges,
Esq., 1881.
2836. HELMET, with nasal and cheek-pieces, and brim at back of neck ; round the edge is a
bead-moulding ; at the inner corner of each eye-hole, an incised palmette. Ht. 8 in. Good
patina ; the top is dented in in places.
2837. HELMET, with rounded top, nasal and cheek-pieces, and brim at back of neck ; in front
is incised a palmette-and-lotos pattern, and round the edge is a bead-moulding ; in each cheek-
piece is a hole, and also on the top. Ht. 8|- in. Very heavy.
2838. HELMET, as the last but one, with eyebrows in low relief and lines round the edge.
Ht. 8} in. Castellani, 1865. Found with a cuirass and other pieces of armour, probably
forming part of a trophy (see No. 2849).
2839. HELMET, in the form of a Phrygian cap, with remains of hinges for cheek-pieces. Ht.
9 in. Blacas Coll., 1867. Edges very much broken.
2840. HELMET, of hemispherical shape, with cheek-pieces of [ C shape, fastened by
hinges ; round the rim, lines and cable-pattern ; on the top, a knob ornamented with scale-
pattern. Ht. 14 in. From Apulia. Castellani, 1873. Sides dented in. Perhaps Etruscan ;
for the type, cf. Nos. 2725-2728.
2841. HELMET, conical, with upright piece above, like the neck of a vase, and long curved
semi-cylindrical piece attached, forming, as it were, a lip and handle ; round the lower edge,
four moulded lines and occasional perforations. Ht. 9} in. Payne Knight Coll. In bad
condition.
35° CATALOGUE OF BRONZES.
2842. VISOR of gladiator's helmet, in two pieces, with patterns of circles and outer border of
ivy-leaves, in open work ; on the lower bar are incised feather patterns ; below is a spike, and
above, pieces for attachment to the helmet. Ht. 8^ in. From the Ghirardesca Coll., Florence ;
acquired 1857.
2843. MODEL OF GLADIATOR'S HELMET, with crest, ridge along the top, and projecting
brim all round, with pattern of dots incised at the back ; the visor is solid, joining down the
front- Ht. 3| in. Castellani, 1873. Hollow pedestal for attachment to some object.
2844. CHEEK-PIECE of helmet, moulded to fit the cheek, on which are part of a beard and
moustache in low relief. Ht. 9^ in. From Loryma, Caria. Presented by the Duke of St.
Albans, 1872. Corroded and much bent. Hinge for attachment to helmet.
B. CUIRASSES, GREAVES, ETC. (2845-2876).
2845. BREAST-PLATE (/«ip8io</>v\a£, Polybius, Milit. Rom. 23, 14). It is formed of three discs
surrounded by rings, forming a shield-shaped surface ; the top is flat, and along it is incised an
egg-pattern ; it has two hinges at the top and one each side for fastening straps which passed
behind the body and thus secured the breast-plate Ht. 10^ in. From Ruvo. Bequeathed by
Sir W. Temple, 1856. Rather broken. A simi'ar breast-plate is in the Karlsruhe Museum
(Schumacher, Cat. No. 713, pi. 13, No. 14) ; the form is characteristic of Southern Italy and
often occurs on Campanian vases (see Brit. Mus. Cat. of Vases, iv., F 197, F 241, F 242, and
p. 20 ; also Rom. Mitthcil. xi. (1896), p. 266).
2846. CUIRASS. Front and back pieces fastened with hinges, two on either side ; on either
side of each hinge are rings for other fastenings ; the cuirass is moulded to r'it the form of the
body. Ht. 20 in. From Ruvo. Bequeathed by Sir W. Temple, 1856. Fourth century B.C.
Rather corroded, and broken at the top.
2847. FRONT PART OF CUIRASS, moulded to fit the chest ; the breast-nipples are indicated.
Ht. 13! in. Broken at the sides and top.
2848. FRAGMENTS of back part of cuirass, four in number, with rings for fastening to front
piece. From the neighbourhood of Naples. Burgon Coll.
2849. CUIRASS, with front and back pieces, moulded so as to fit closely together ; on either
side are remains of rivets and hinges for fastening. Ht. 2i{ in. Castellani, 1865. Mounted
as a trophy with the helmet No. 2838.
2850. CUIRASS, part of front of, with rings for fastening ; nipples of breast indicated. Ht.
13! in. Blacas Coll., 1867. Corroded.
2851. CUIRASS, part of back of, with rings for fastening. Ht. 12- in. Blacas Coll., 1867.
2852. BELT, covered with minutely-incised patterns, concentric circles, chevrons and others.
Length 3 ft. 2« in. Width "]\ in. Hungary, 1867.
2853. BELT, with clasps as No. 2856 ; palmettes at end of hooks ; two holes for the hooks.
Diam. 3^ in. Blacas Coll., 1867. Corroded.
2854. BELT, with clasps as the last : small holes round the top. Diam. 43 in. Bequeathed by
Sir W. Temple, 1856.
2855. FRONT PART OF BELT, with pattern of three, five, and three bosses in the middle ;
round the edge, a triple row of raised dots ; pointed oval shape. Length \t\ in. 1857.
ARMS AND ARMOUR. 351
2856. BELT, three fragments of, with perforations ; the clasp is formed of two hooks, with
palmette patterns in relief at the end ; in the other piece are eight holes for the hooks to fasten
into. On the piece to which the hooks are attached is a figure of Pegasos galloping to r.,
partly incised and partly repousse\ Width 3| in. Length of the pieces respectively, 19^, 11 and
10 in. i860. Much injured. Probably Greek work.
2857. FRAGMENT OF BELT, with perforations along the edge ; on it are a sea-horse to 1.
and a dolphin diving downwards, in repousse. Dimensions, 5^ x 2^ in.
2858. CLASP OF BELT. The hooks rise out of the heads of two rude male figures in relief,
which are nailed on to a square backing of two thin pieces of bronze nailed together, round the
edges of which are small holes. The men's bodies are to the front, the feet as if moving to r. ;
they wear helmets, and on their bodies are incised dotted circles and other markings ; their
hands are placed on their hips. Below are lines of dots incised and punched. Ht. 5 in.
2859. PAIR OF GREAVES. Round the edge, small holes for thread or lace (?). Ht. 123 in.
Blacas Coll., 1867. Much broken.
2860. PAIR OF GREAVES. Ht. i62L in. From Ruvo. Bequeathed by Sir W. Temple, 1856.
Rather broken at the top and bottom.
2861. GREAVE for right leg, ridged down the front ; outline of muscle of calf shown on 1. side.
Ht. l8jj- in. Castellani, 1865.
2862. GREAVE for right leg. Ht. i6| in. Bequeathed by W. Burges, Esq., 1881 ; from the
Meyrick Coll. In bad condition ; top broken.
2863. FRAGMENT OF GREAVE. Outline of muscle of calf indicated. Ht. io{ in. Blacas
Coll., 1867.
2864. GUARD FOR UPPER PART OF ARM, like a greave, with holes round the top.
Ht. 13 in. Castellani, 1865. These were worn by gladiators ; cf. No. 1605.
2865. PAIR OF GUARDS, as last, each slightly injured. Ht. of each 9^ in. From Ruvo.
Bequeathed by Sir W. Temple, 1856.
2866. PAIR OF GUARDS, as before; two holes at the back for fastening; rather broken.
Ht. 9 in. Bequeathed by Sir W. Temple, 1856.
2867. TWO GUARDS for some part of body, with holes all round the edge. Dimensions
4} x 4} in. Castellani, 1865.
2868. COVERING for front of thigh (?). Ht. 10 in. Millingen Coll., 1847.
2869. PAIR OF SHOES, covering the upper part of the feet, very thin, with soles perforated ;
the toe-caps are joined to the other part by a hinge ; the nails are indicated outside. Length
9 in. From Ruvo. Bequeathed by Sir W. Temple, 1856.
2870. MEDALLION, probably forming part of the decoration of a cuirass, plated with silver.
In the centre is a bust of Nero Drusus, beardless, with some object on his breast. Round the
bust are inlaid three vine-leaves, and round the outer edge are traces of patterns. At the back
are four rings, two close together. Diam. 4 in. Presented by Joseph Mayer, Esq., 1868 ; probably
from Xanten (Castra Vetera). Similar medallions from Xanten in the Mayer Collection at
Liverpool; see Michaelis, Ancient Marbles in Great Britain, p. 426, No. 15, and Bernoulli,
horn. Ikonographie, ii. 1, p. 421 ; also Ann. delV Inst, i860, p. 161 ff., Rom. Mittheil. xi.
(1896), p. 266, and Jahn, Laitersforter Phalerae (Bonn, i860).
2871. MEDALLION, as the last. Diam. 4J in. Rather corroded.
2872. MEDALLION, as before ; below is a hinge to which is attached a flat piece, all plated
with silver, ending in two acorns with an oak-leaf between them. Diam. 4 in. Ht. 8 in.
Much worn, especially the head.
352 CATALOGUE OF BRONZES.
2873. MEDALLION, as before ; rings behind, to which are attached two pieces for fastening
the medallion to the cuirass. Diam. 4 in.
2874. MEDALLIONS, twenty-nine in number, plated with silver, and ornamented with raised
rings and a central knob ; sixteen of them have pendants attached resembling that of the last
but one (No. 2872). Diam. 2^ to \\ in. Ht. 5 to 4 in.
2875. BUCKLE from phalerae, forming the head and neck of a horned owl, in the round.
The feathers, eyes, beak and ears are inlaid with gold, and a ridge runs up the back of the
head. Ht. i~ in. 1891.
2876. BUCKLE from phalerae, forming a boar in relief, crouching down to 1. ; along his
back is a hogged mane. Length if in. 1891.
IV. HORSES' TRAPPINGS AND OTHER OBJECTS (2877-2910).
2877. HORSE'S MUZZLE (<£i/uos at/Xwro's), formed of an open framework with moulded
ornaments and patterns ; on the highest part, a gilt rosette, and on the front, three ivory studs ;
the two side-pieces end above in swans' heads (one lost), to which rings are attached for
fastening it over the head. Ht. 9 in. Castellani, 1873. Pernice, Gr. Pferdegeschirr (56/^
Winckelmannsfestpr), p. 13. One bar broken away.
2878. HORSE'S MUZZLE, as before. The lower part is solid, with heart-shaped holes and a
knob at the bottom ; on the front part is cut a pattern of volutes and oblong openings ; the
side-pieces rest on moulded bases. Ht. 9^ in. From Ruvo. Bequeathed by Sir W. Temple,
1856. Pernice, Gr. Pferdegeschirr, p. 11 ; Smith, Diet. Antiqs? i. p. 358 (both illustrations are
inaccurate).
2879. HORSE'S MUZZLE, as the last ; in the lower part, kidney-shaped openings ; no remains
of fastenings. One of the swans' heads is broken off. Ht. 8^ in. From Ruvo. Bequeathed
by Sir W. Temple, 1856.
2880. PART OF SNAFFLE, with nine spikes in three rows, the middle row arranged so as to
alternate with those in the others. Ht. \\ in. Bequeathed by Miss Auldjo, 1859. On the
identification of these objects, see Pernice, Gr. Pftrdegeschirr {%(ytes Winckelmanusfestpr.),
pis. 2, 3, p. 17 ; Friederichs, Kleiner e Kunst, p. 247 ; Proc. Soc. An tigs. 2nd. Ser. v. p. 12 ;
Furtwaengler in Olympia, iv. p. 195 ; and Schumacher, Bronsen zu Karlsruhe, p. 149.
2881. PART OF SNAFFLE, as the last ; worn. Ht. \\ in. Comarmond Coll., 185 1.
2882. PART OF SNAFFLE, as the last, but four spikes in each row. Ht. 1* in. Towneley
Coll.
2883. PART OF SNAFFLE, as before, with twenty-one spikes, seven in each row. Diam.
i{ in. Towneley Coll.
2884. PART OF SNAFFLE, as before ; eighteen spikes, six in each row. Ht. 1 in. Burgon
Coll.
2885. PART OF SNAFFLE, with eighteen spikes in three rows ; rim above and below ; rather
worn. Ht. \\ in. From sale at Arley Castle, Staffs., 1853.
2886. PART OF SNAFFLE, with eighteen spikes in three rows, arranged so as to alternate ;
rim as last. Ht. 1 in. From sale at Arley Castle, 1853. Spikes worn and blunted.
2887. PART OF SNAFFLE, with fourteen spikes in two rows ; worn. Diam. \\ in. From
Armento. Bequeathed by Sir W. Temple, 1856.
2888. PART OF SNAFFLE, with twenty-five spikes in five rows. Ht. \\ in.
ARMS AND ARMOUR.
,)3j
2889. PART OF SNAFFLE, in the form of a rosette, ring-shaped, with twelve knobs round
it ; below is a groove for fitting on to a handle. Diam. if in. Bequeathed by Sir W. Temple,
1856.
2890. TWO PARTS OF SNAFFLES, fluted, with six ribs ; in one instance each rib is cut
into small points. Ht. i| and l| in.
2891. PART OF SNAFFLE, with sixteen spikes in two rows. Diam. if in. From Spain.
Presented by A. Cerda y Morodes, 1874.
2892. MACE-HEAD, fluted, with six ribs, and a conicahtermination surmounted by a knob ;
remains of a wooden handle. Ht. 6 in. From near Rome, 1890.
2893-2898. A series of uncertain objects, usually, but wrongly, identified as bow-pullers
or bow-stretchers ; the most plausible interpretation seems to be that they are the fivpfirjK.es
(Christodorus, Ecphr. 224 ; see Liddell and Scott, s.v.) which were affixed to the caestus, in
order to inflict severe wounds. See E. S. Morse in Essex Institute Bulletin, Salem, Mass.,
xxvi. (1894), p. 160 (gives illustrations of three Museum examples), and Bulletin of Science and
Art Museum, Philadelphia, 1897, vol. i., No. 1, p. 10; also Friederichs, Kleinere Kunst u.
Industrie, p. 356; Furtwaengler in Olympia, iv. p. 195 ; Schumacher, Bronzen zu Karlsruhe,
P- 153-
2893. UNCERTAIN OBJECT, consisting of two rings joined together by an ibex's head which
rises between the two rings, the horns being bent back on to the edge of the ring behind.
Length i\ in. Presented by A. W. Franks, Esq., C.B., 1891.
2894. SIMILAR OBJECT, with triple point rising between the two rings ; at the base on one
side is a panther's head in relief, very rude ; on either side, a similar head, much worn, and
three dotted circles incised. Length 2f in. Towneley Coll.
2895. SIMILAR OBJECT, as the last ; heads better preserved ; on either side, incised patterns.
Length 2f in. From a sale at Arley Castle, Staffs., 1853. Essex Inst. Bull., I.e., pi. 5, fig. 7.
2896. SIMILAR OBJECT, as the last. Length 2 \ in. Presented by General Meyrick, 1878.
2897. SIMILAR OBJECT, plain. Length 2} in. Presented by General Meyrick, 1878.
2898. SIMILAR OBJECT, plain. Length 2f in. Hamilton Coll. 51.
2899. TWO BOSSES OF SHIELDS, with conical knobs. Diam. 4* and 5 J in. Caserta, 1872.
2900. FOURTEEN SIMILAR BOSSES, all with conical knobs. Diam. if to 2f in. All
from Caserta, 1872.
2901. BOSS OF SHIELD, convex, very thin, with a loop inside ; on the outside is incised a
chain of concentric circles joined by lines. Diam. if in. Hamilton Coll. 109.
2902. BOSS OF SHIELD, flat, with handle, and rings incised on it. Diam. if in. Comarmond
Coll., 185 1.
2903. BOSS OF SHIELD, convex, ribbed on the outside. Diam. if in. From Calymnos ;
obtained by Lord Stratford de Redcliffe, 1856.
2904. BOSS OF SHIELD, plain convex shape. Diam. if in. Knidos, 1859.
2905. BOSS OF SHIELD, with conical knob in the centre. Diam. if in. Knidos, 1859.
Point of knob broken off.
2906. BOSS OF SHIELD, the centre rising into a moulded knob. Diam. i^ in. Ht. if in.
Knidos, 1859.
2 A
354
CATALOGUE OF BRONZES.
2907. TOP OF STANDARD. On a flat oblong piece supported by a central stem and two
curved side-supports is a boar charging. The stem is fluted half-way down, and round the
lower part are two rings ornamented with circles. Ht. n in. Vaux, Handbook to Brit. Mus.
p. 411. Fore-legs of boar broken off.
2908.
2909.
2910.
TOP OF STANDARD, in the form of a spike surmounted by a hollow convex piece of
bronze, on which is perched an eagle with outstretched wings, looking up to its r. ; in the spike
are holes for fastening to a wooden handle, and another in the eagle's neck. Ht. 7 in. Vaux,
Handbook to Brit. Mus. p. 411.
1 = No. 2303.
TOP OF STANDARD, with four curved sides forming a square ; each corner terminates
in a square, on which are two rows of cross-lines and a row of dotted circles incised. The
two lower corners are supported by dolphins with heads thrown far back ; between them is the
club of Heracles. Below this are four steps ; on the lowermost, a row of dotted circles ; beneath
this is a long spike with two holes in the bottom. Ht. 81 in. Presented by A. W. Franks,
Esq., 1872 ; from the Purnell Coll.
TOP OF STANDARD. As the last ; each corner ends in a sort of moulded plinth;
between the two lower ones is a moulded boss ; the whole is supported by a moulded base,
below which is a spike. Ht. 9 in. From Torre Annunziata. Bequeathed by Sir W. Temple,
1856. Lower part corroded.
155
I. TOOLS (291 1-2978).
I. CELTS AND AXE-HEADS (291 1-2954).
Of these implements there are four classes in order of historical development, as
distinguished by Sir John Evans, in his Ancient Bronze Implements of Great Britain, p. 38 ff.
We have named these types respectively :
A. Flat celts.
B. Flanged celts, without stop-ridge to prevent their being driven into their haft.
C. Winged celts with stop-ridge, and palstaves.
D. Socketed celts.
2911. FLAT CELT (type A) ; the blunt end is straight and thick. Length 3J in. From
Magna Graecia. Bequeathed by Sir W. Temple, 1856. For other examples of type A, see
Nos. 35, 44, 49, 101.
2912. FLANGED CELT (type B), the sides very slightly flanged. Length 4| in. From Magna
Graecia. Bequeathed by Sir W. Temple, 1856.
2913. FLANGED CELT, as the last ; the handle ends in two horns curving inwards. Length
6^ in. Blacas Coll., 1867. One horn broken.
2914. FLANGED CELT, with sides slightly flanged ; the end of the blade curves slightly
inwards. Length 6\ in.
2915. FLANGED CELT, similar ; rather narrow and thicker in the middle. Length 5-g- in.
2916. FLANGED CELT. Slightly flanged ; the head is thinned off. Length 3J in. Patina.
2917. FLANGED CELT ; sides slightly flanged, and a hole in the end, which is thin. Length
6\ in. Towneley Coll.
2918. FLANGED CELT, as the last. Length 6| in.
2919. FLANGED CELT, as before, but with a notch instead of the hole. Length 4I in.
2920. FLANGED CELT, as before. Length 4J in.
2921. FLANGED CELT, as before, but with both hole and notch. Length 7^ in.
2922. FLANGED CELT, with both ends straight and flattened, and sides of head slightly
folded over. Length 4f in. Hamilton Coll. 160.
2923. FLANGED CELT, as before, but more deeply flanged ; broad head. Length 5 in.
Blacas Coll., 1867. Patina.
2924. FLANGED CELT, as the last ; the end is straight and thick. Length 5! in. Patina.
2925. FLANGED CELT, the flanges extending the whole length and bent over. Length 6~ in.
Bequeathed by Miss Auldjo, 1859. Patina.
2926. WINGED CELT (type C) ; no stop-ridge;
broad blade. Length 4! in. ; width of blade
2| in. Olympia, 1865.
2927. WINGED CELT (type C), with stop-
ndge and large wide-spreading blade. Length
10J in. From Italy ; Count Milano's sale, 1853.
2928. WINGED CELT, similar ; the wings are
bent over. Length 5f in. Corroded. Fig. 82 = No. 2926.
2 A 2
356 CATALOGUE OF BRONZES.
2929. WINGED CELT ; thin head terminating in two horns curving inwards. Length 6| in.
From Magna Graecia. Bequeathed by Sir W. Temple, 1856.
2930. WINGED CELT, as the last. Length 9I in. From Italy ; Count Milano's sale, 1853.
2931. WINGED CELT, as before. Length 7f in. Sloane Coll., 459 ; formerly in the
collection of the Abbe" Sterpini at Rome.
2932. WINGED CELT, as before, with small head at right angles to the plane of the blade.
Length 5 J in. Hamilton Coll.
2933. WINGED CELT. Stop-ridge ; flat end and high flanges. Length -]\ in. Hamilton Coll.
2934. WINGED CELT, as the last ; very deep flanges ; no stop-ridge. Length 5^ in. Payne
Knight Coll.
2935. WINGED CELT, as before. Length 7$ in. Patina.
2936. WINGED CELT, as before; broad end and deep flanges; incised A. Length 67s in.
Payne Knight Coll. 102.
2937. WINGED CELT, as before. Length 6| in. Towneley Coll.
2938. SOCKETED CELT (type D). Socket for handle, which is moulded, and dies away
into the head, which is shouldered. Length 3^ in.
2939. SOCKETED CELT. On either side of the head is a projecting knob. Length $} in.
2940. SOCKETED CELT, with large socket, and flat head, nearly rectangular ; the head is
shouldered like the blade of a spade. Length 5 in.
2941. CELT (type D), with oblong iron blade, which is soldered to a handle which is thin and
eight-sided, and narrows towards the middle. Length 5 } in. Found in a stone coffin at
Urdengen, near Diisseldorf, in 1861. Presented by George Witt, Esq., 1868. The blade has
been broken across and is much rusted.
2942. AXE-HEAD, with oval hole for handle. Length 5| in. Bequeathed by Miss Auldjo,
1859.
2943. AXE-HEAD, as the last, but not flat; thick moulded blade with flaps turned back.
Length 6\ in. Blayds Coll., 1849.
2944. AXE-HEAD. On the blade are incised circles, and round the handle, chevron-pattern.
Length j\ in. ; width 2| in. Castellani, 1865.
2945. HEAD OF DOUBLE-HEADED AXE. Circular hole for the handle, in the middle.
Length 7 J in. Cameiros, 1861. Corroded.
2946. AXE-HEAD, as No. 2943, with oval socket for handle and moulded sides to the blade,
like flaps turned over. Length 5I in. Hamilton Coll.
2947. AXE-HEAD, plain, with oval socket. Length 7 in. From Magna Graecia. Bequeathed
by Sir W. Temple, 1856.
2948. AXE-HEAD, as last; short, broad head, almost rectangular. Length 3^ in. Width
2 1 in.
2949. AXE-HEAD, as the last but one. Length 5J in. Sloane Coll. 458; formerly in the
collection of the Abbe- Sterpini at Rome.
2950. TWO AXE-HEADS, as before. Length 6£ and 7| in. Hamilton Coll. Patina on the
shorter one.
2951. KNIFE (?), in the form of a rather flat stem ending in a flat, leaf-shaped blade. Length
2)1 in. From near Macon, 1850.
TOOLS.
357
2952. KNIFE(?), similar ; the blade is larger, and on it are punctured patterns. Length 2\ in.
From near Macon, 1850. Stem broken.
2953. KNIFE (?), with long straight blade ; hole in end of handle; on the blade, each side,
punctured scroll-patterns. Length 3! in. Athens, 1865.
2954. UNCERTAIN OBJECT, something like an axe-head, flat, ending in a swan's head, on
the neck of which is a small ring. Length \\ in. Sardinia, 1856. Corroded.
2955.
2956.
II. KNIVES (2955-2974).
KNIFE, with iron blade complete, and hinge and socketed handle, like a modern clasp-
knife ; the handle is in the form of a greyhound devouring a hare, the fore-part of which is
visible in his mouth ; the animal issues
out of a calyx. Length 5 1 in. ; of the
handle,' 2J in. Comarmond Coll.,
1 85 1 ; found in 1S19 at Vaison, Dept.
Vaucluse, France.
HANDLE OF KNIFE (?), in
the form of a crouching lion devouring
the head of an ox which he holds in
his fore-paws ; the part into which the
blade was inserted is in the form of a
calyx. Ht. 5 in. 1894. Patina.
Fig. 83 = No. 2955.
2957.
2958.
2959.
2960.
2961.
2962.
2963.
2964.
2965.
HANDLE OF KNIFE, in the
form of a dog running, with a boar's head in its mouth. Length 3| in. Towneley Coll.
HANDLE OF KNIFE, in the form of a wolf or dog crouching down. Length 2\ in.
Presented by General Meyrick, 1878.
HANDLE OF KNIFE, in the form of a bull (?), the body hollow, with an opening at the
hinder end ; the feet rest on a sort of curved stand with a support in the middle, on which is a
bud (?) in relief, inverted. Length 3 in. Towneley Coll.
HANDLE OF KNIFE, in the form of a Gryphon's head. Length 2 in. Much worn.
HANDLE OF KNIFE, in the form of a horse's head looking round to its r., with mouth
open. Length 2f in. Patina.
HANDLE OF KNIFE, ending in a ram's head. Length 2 in.
HANDLE OF KNIFE, in the form of a sheep's foot; at the other end, a socket.
Length 3^ in.
HANDLE OF KNIFE (?) : at one end a calyx ending below in a volute ; at the other, a
panther seizing a deer by an antler with its mouth ; the deer crouches on its fore-legs, and the
panther grasps its r. shoulder with r. fore-paw. Length 2f in. Towneley Coll.
HANDLE OF KNIFE, with figure of Eros (?) in relief, wearing Phrygian cap and
chlamys ; he has a peduvi in r. hand and a bunch of grapes in 1. At the back is a slit into
which the iron blade fitted. Length 2^ in. Rather rude work ; patina.
;ss
CATALOGUE OF BRONZES.
2966. HANDLE OF KNIFE, as the last, with remains of the iron blade at the back ; on the
other side is the figure of a gladiator (cf. No. 1602), wearing a crested helmet with grilled visor
down ; in r. hand a short curved sword, and in 1. a small shield. Length 2~ in. Hamilton
Coll. 57. Cf. Schumacher, Bronze u zu Karlsruhe, 691, and Reinach,
Muse"e de St. Germain-en-Laye, No. 188 (both almost identical with
this).
2967. HANDLE OF KNIFE, in the form of a comic actor standing
on a calyx ; he looks to 1., and his hands are folded in front of him ;
he has long hair and a mask, and wears a short chiton. Length 3^ in.
2968. HANDLE OF KNIFE, terminating at one end in an Ionic
cap, at the other in a horse's leg and hoof. Length 3! in. Castellani,
1873.
2969. HANDLE OF KNIFE, terminating at one end in a human
foot, with socket for the blade, at the other in a mouse with fore-paws
raised to its mouth. Length i\ in. Towneley Coll.
2970. HANDLE OF KNIFE, terminating at one end as the last,
at the other in a female mask ; the middle part is in the form of a
club. Length 2J in. Castellani, 1873. Exquisite blue patina.
2971. HANDLE OF KNIFE, as the last; instead of the mask, a
boar's head. Length 3 in.
2972. HANDLE OF KNIFE, in the form of a tree-stem, ending in
a ram's head, from below which projects a ram's foot ; the other end
has a groove for the blade as in the last three examples. Length
2| in. Castellani, 1873.
2973. HANDLE OF KNIFE, with remains of iron blade, in the form of a tree-stem sur-
mounted by an acanthus calyx ; the butt-end is ornamented with a silver star of eight points,
inlaid. Remains of gilding. Length 4! in. 1850.
2974. PART OF KNIFE-HANDLE (?), inlaid with a pattern of red lozenges on pale green
ground. Length 2} in. Castellani, 1872.
2975. MODEL OF AXE. Length 2J in. Hamilton Coll. 16.
2976. MODEL OF AXE-HEAD, with oblong socket for handle ; at the end is a rude figure
of a cock. Length 2>i in. Brown patina.
2977. MODEL OF HAMMER, the handle inserted through a hole in the head, one end of
which is square, the other like a chisel. Length 3§ in. From Corfu. Woodhouse Coll., 1868.
2978. MODEL OF PICK-AXE. Length i| in. From Corfu. Woodhouse Coll., 1868.
Fig. 84 = No. 2966.
359
J. STEELYARDS AND WEIGHTS (2979-3030).
I. STEELYARDS (2979-2996).
[For balance-weights in the form of heads, see Nos. 1710-1716.]
2979. STEELYARD, with graduating marks ; on one side IIIIVIIIIXIIIIV, on the other, a less
clearly indicated scale ; two hooks (one restored). Length 10 in. From Corfu. Woodhouse
Coll., 1868. Patina.
2980. STEELYARD, with two pendent hooks, and at one end a large hook in the shape of
an Q. Length ~j\ in. Bequeathed by Sir W. Temple, 1856. Good patina.
2981. ARM OF BALANCE, with tongue {examen) working in socket {vagina) ; moulded
ends ; one arm is graduated. Length \\\ in. From Corfu. Woodhouse Coll, 1868.
2982. PAIR OF SCALES, with movable arms. Length 13I in. The pans are lost.
2983. PAIR OF SCALES, complete except that the chains are restored. Length of arms, 1 1 in.
2984. PAIR OF SCALES, with hook for suspension, and weight in the form of an acorn ;
graduating marks punched on one arm. Length 9I in. Complete ; the chains are modern.
2985. PAIR OF SCALES, made in the modern fashion, with a tongue {examen) working in a
socket {vagina). Length gh in. Chains modern.
2986. STEELYARD, terminating at one end in the head of a boar, at the other in the head of
a dog, with two large hooks attached, and an elaborate system of graduations. Inscribed at
the boar's head end : "T" KYPIAKOY, in dotted letters. Length of arm, 3 ft. 5 1 in. Mylasa,
f
1870. Probably Christian, as the name Kyriacos does not occur in classical times, but the
inscription and cross may have been added later (cf. No. 2992).
2987. STEELYARD, with one hook, graduated on three sides ; rather worn. Length 2 ft. 3^ in.
Mylasa, 1870. See No. 1716 for head belonging to this steelyard.
2988. STEELYARD, with two hooks, and at the end a double hook from which hangs a large
chain with a large hook at the end ; graduated VNVXVXVXX. Length 1 5 1 in.
Smyrna, 1881.
2989. STEELYARD, similar. Length 12} in. Catania, 1881.
2990. STEELYARD, with one hook, graduated on three sides ; one scale appears to be that of
the Ptolemaic mina. Inscribed WAPAOXIOV, Mapdo^iov, in dotted letters. Length 22^ in.
Smyrna, 1883.
2991. STEELYARD, with two hooks, graduated on three sides with dotted letters and signs ;
the unit of the scales seems to be the Roman libra. Inscribed A. Length 185 in. Sardis, 1883.
2992. STEELYARD, with three hooks, having on three sides a graduated scale, the units
marked by strokes of the full width, the half-units by short strokes ending in trefoils of dots.
The tens are indicated by letters giving the numerical value ; the fives by E ; each scale
slightly overlaps the other, (i) AEIEK ; (ii) IEKEAEMENE ; (hi) NEZEOEPEQEP (= ioot
El EKE. On the handle is inscribed -f- IU)ANNOC(TZ)$ArOPA. 'IaxWou 2(T>;V«yo/>« (?).
Length 22^ in. From the valley of the Maeander, 1863.
;6o
CATALOGUE OF BRONZES.
2993. BALANCE-WEIGHT from steelyard, in the form of a medallion on which is a
Gorgoneion in high relief looking to 1. ; beautiful type, with rich curly hair, wings and snakes
in the hair, and drapery tied on the throat. Ht. 4| in. From Italy. Castellani, 1873. Eyes
hollow ; ring in top of head.
2994. STEELYARD, with two hooks and a ring at one end into which is fastened a piece with
two hooks, and a long piece attached, the end bound with twisted wire. A weight is attached
in the form of a vase on which are two Sirens to the front in relief. The graduations are
X XV XX XXV XXX. The hooks end in ducks' heads. Length of arm, 21 { in. Blacas Coll., 1867.
Patina on the weight, which is rather worn.
2995. STEELYARD with two hooks, graduated. Length 18 in. Blacas Coll., 1867.
2996. STEELYARD, with four long chains attached, holding a balance-pan ; graduated XXV
XX XV X and VI V Mil III II I. Weight in the form of a head of Athene with long hair and
helmet, with a Gryphon's head as crest. Length of arm, 13I in.
2997
2998
2999,
3000.
II. WEIGHTS (2997-3030).
WEIGHT in the shape of a rectangular box without a lid. In the inside is a head of
Heracles in relief to r., with curly hair and beard ; on the farther side of him is his club (?).
Round the rim is inscribed: ©EOlIXEBAZTOIZKAITnAAMQ, Oftus 2f/3ao-Tot9 <a\ r<a M^icp.
Round the sides is inscribed in long narrow letters : ArOPANOMOYNTONnKAflAIOYPOY^
OYKAITEPTIOYBEKIAIOY, ' A.yopavop.oiv™v II. KAwSi'ou 'Poufjjov kgu Tepriov Beicikiov.
Weight, 41494 grains. Dimensions, 5 x 4f x if in. From Heraclea in Bithynia, 1853.
C. I. Gr. 8545 b. On one side is a knob for suspension.
T
WEIGHT. An owl to r., with face to front ; inscribed 0 Weight, 2392 grains.
AYA
2 x 2 in. Pourtales {Cat. 783) and Blacas Colls. Mott. delV hist. iv. pi. 45, fig. 9, and Ann.
1847, p. 339, 1865, p. 206, No. 7$d; Paciaudus, Monum. Peloponn. i. p. 254; Numismatic
Chronicle, 1868, p. 69, No. 132; C.l.Gr. 210 and 8539; Pernice, Gr. Gewichte, p. 194,
no. 779 (gives other reff.). Hole for suspension.
WEIGHT. Inscribed: (6>fo/.)NGIKOAAOC MAPKOYATO | {Rev.) PANOMO)NA6BAAGY,
NikoXoos Mapicov ayopavopw Ae/3a8e0[s. Weight, 4573 grains. 3I x z\ in. 1852. Ring-handle
attached.
WEIGHT. A dolphin to I.; inscribed: ^Yi"',
grains,
no. 55.
Kv£i(/c»7J'off) 8i(TTd(Tr)p). Weight, 696
i\ x 1 1 in. From Corfu. Woodhouse Coll., 1868. Numismatic Chronicle, 1868, p. 66,
3001.
3002.
3003
WEIGHT. Obv. f ■ rev. H. Weight, 1404 grains. \\ x if in. From Corfu.
Woodhouse Coll., 1868. Numismatic Chronicle, 1868, p. 67, No. 68 ; Pernice, Gr. Gewichte,
p. 191, No. 763 ; Soutzo, Etalons ponderaux primitifs, p. 63, no. 335.
WEIGHT. Incised: rbbF. Weight, 2230 grains, if X if x \ in. From Corfu.
Woodhouse Coll., 1868. Numismatic Chronicle, 1868, p. 70, No. 138 ; Pernice, Gr. Gewichte,
p. 191, No. 758 ; Rhein. Mus. xviii. p. 556 ; Soutzo, Etalons, p. 62, No. 325.
WEIGHT. On the top is a relief of a warrior to r., fighting over a prostrate opponent,
who lies with head to r. ; he brandishes a spear (?) in r. hand. In the background is a warrior
with a shield, and on the r. a caduceus (?) . Weight, 848 grains, ij x l| in. From Corfu.
Woodhouse Coll., 1868.
STEELYARDS AND WEIGHTS. 361
3004. WEIGHT. A calfs head to r. ; inscribed: ^OSION bW6(riov- Weight, II 66
Oi AOON oyooov. ft
grains, if x if in. From Asia Minor. Payne Knight Coll. Mon. dclP Inst. viii. pi. 14,
fig. 70; Atuiali, 1865, p. 204, No. 70; see also Wieseler, Theatergebiiude, pi. iv. fig. 20, and
Antiqs. of Ionia, ii. pp. 25, 43.
3A
3005. WEIGHT. Head of Athene to L, wearing crested helmet. Inscribed : or, hr\(ji.u<Twv)
AO
oySo(oj/). Weight, 1 2 1 5 grains, if- x \\ in. Cf. Pernice, Gr. Gewichte, p. 42. The sides have
deep lines cut into them ; the back is hollow, with uncertain letters in relief.
3006. WEIGHT. Lion to 1.; inscribed: AQ. Weight, 706 grains. i| x \\ in. From
Corinth. Presented by E. Gilbertson, Esq., 1883.
3007. WEIGHT. Inscribed: ^j^D WeiSht> 65° grains 1 ,% x ij in. G:eece, 1S75.
Hole in middle on top.
3008. WEIGHT. Inscribed: AIO^ KAA . . . ., Aios K\a(p[ov? ; see Roscher, Lexikon, s.v.
Klarios). Weight, 7378 grains. z\ x i\ in Greece, 1895.
3009. WEIGHT. Inscribed: "} , probably a monogram for ^OKPAT. 3-f x 2| in. From
Corfu. Woodhouse Coll., 1866. At the top, a handle, with iron ring attached. Weight,
3840 grains.
3010. WEIGHT, with design of an anchor. Inscribed : AHMO, 8r)n6(aiov). Weight, 1920
grains. i£ x 1} in. Sidon, 1895. Small hole for suspension.
3011. WEIGHT. A crescent in relief. Weight, 1696 grains. ij x if in. From Athens.
Burgon Coll. Nnmisin. Chron. 1868, p. 67, No. 69 ; Pernice, Gr. Gewichte, p. 132, No. 341.
3012. WEIGHT. A bull's head to the front. Weight, 1858 grains. i£ x i£ in. From Corfu.
Woodhouse Coll., 1868. Niimism. Chron. 1868, p. 69, No. 133.
3013. WEIGHT, reproduction of, in copper. Inscribed: A<OPANOM 'Ayopavofiaiv fi(va).
Weight of the original, 3487 grains. ij x if x fin. From Corfu. Woodhouse Coll.,
1866. See Mon. dell' Inst. viii. pi. 14, fig. 78, and Ann. 1865, p. 186; 2 Mustoxidi, Cose
Corciresi, i. p. 328 ; Pernice, Gr. Gewichte, p. 190, No. 756 and p. 65 ; Numism. Chron. 1868,
p. 69, No. 131.
3014. WEIGHT, reproduction of (?). Inscribed:^1"1. i| x i{ in.
3015. WEIGHT, thin and square, inscribed: POMP; letters inlaid in silver. | x fin.
Presented by General Meyrick, 1878.
NfA^G
3016. WEIGHT, thin, with triangular top; incised on obv. LIB Ant. Aug. Lib. ii. ; on
rev. FRV Fru{menti) lxi. Weight, 426 grains. Ht. ii in. Remains of silver in the letters.
I— A I
3017. WEIGHT, in the form of a pig lying down, with flat handle and plinth below. Weight,
2312 grains. Length 2 in. 1848.
3018. WEIGHT, in the form of a knucklebone; handle as last. Weight, 5200 grains.
Ht. 2| in. Sloane Coll. 19. Corroded.
3019. WEIGHT, formed of a thin rectangular piece of bronze, stamped from a die with a
medallion in which is a head of Odysseus to 1., wearing piletis ; inscribed IOA. An imitation
(probably modern) of coins of Ithaca. | x | in. From Corfu. Woodhouse Coll., 1866.
6
62 CATALOGUE OF BRONZES.
3020. WEIGHT, in the form of an oblate spheroid ; on the top has been inlaid in silver AE.
Below is inscribed GVTYXIB^), the letters inlaid in silver; IB = 12 {siliquae) = half of a
solidus. Ht. 2^ in. Blacas Coll., 1867. Weight, 28080 grains (= 4 lbs. avoirdupois).
3021. WEIGHT, as before, but inscribed AA ; letters all in silver. Ht. \\ in. Blacas Coll.,
1867. Weight, 21600 grains (= 3 lbs. avoird.).
3022. WEIGHT, as before, but inscribed A°r. Ht. if in. Blacas Coll., 1867. Weight
15080 grains (= over 2 lbs. av.).
3023. WEIGHT, as before, but inscribed A°B ; letters in silver. Ht. i|in. Blacas Coll., 1867.
Weight, 10280 grains (= if lbs. av.).
3024. WEIGHT, as before, but inscribed AA ; no leaf after the lower inscription ; letters in
silver. Ht. i| in. Blacas Coll., 1867. Weight, 4656 grains (nearly f lb.).
3025. WEIGHT, as before ; incised on the top n , unciae duo ; no inscription below.
Ht. -J in. Blacas Coll., 1867. Weight. 830 grains.
3026. WEIGHT, as before; inscribed on top $CS (oiyiciai e£) ; inscription below, EYY-
Ht. 13 in. Blacas Coll., 1867. Weight. 2664 grains (= j lb.).
3027. WEIGHT, as before ; inscribed $-r (ovynlai rpels). Letters in silver ; a slit across the
top. Ht J in. Blacas Coll., 1867. Weight, 1320 grains.
3028. WEIGHT, as the last, tut without a slit; between the letters, a hole. Weight, 1239
grains. Ht. f in.
3029. WEIGHT, as before ; inscribed $-B (ovyKiu dvo). Ht. \ in. Blacas Coll., 1867.
WTeight, 852 grains.
3030. WEIGHT, as before ; inscribed $CA in silver (ovyKia pia). Weight, 456 grains. Ht. i^in.
Blacas Coll., 1867.
[On these late Roman weights see Kubitschek in Arch.-epigr. Mittheil. aus Oesterr.
1892, p. 85. The actual weights of this series (3020-3030) show that the unit cannot be the
Roman libra. The Greek numerals seem to imply that some system of the Greek AtVpa is meant.
The weight of the Roman libra is 5050 grains, whereas No. 3024 weighs 4656, and the rest
show a proportionate divergence.]
363
K. STAMPS AND INSCRIBED OBJECTS
(3031— 3194).
3031. STAMP. -C-SABINI C.Sabini
niEPI/E Ilicpiae
ASCELLI V]ascelli.
2 1 : x 1^ in. 1853. Handle broken ; also the ends of the stamp. For Vascellum
(= urna), see Orelli, Inscr. Lat. 4555. Probably used for stamping the mouth of a wine-cask.
3032. STAMP. NIMFIA VIBAS, ?'.<?., Nymphia vivas. 7 x 1 in. Hamilton Coll. 4. Large
coarse letters.
3033. STAMP. t^nTka Gaudenti ^l<a. 1} x | in. Bequeathed by Sir W. Temple, 1856.
C. I. L. x. 8059, 177 ; Guarini, Sugg. Ant. p. 58.
3034. STAMP. Q P PROCY.I Q. P. Proculi. Length 2 in. Bequeathed by Sir W. Temple,
1856. C. I. L. x. 8059, 337.
3035. STAMP, ^^^.{ C. Epidii Quadrati. 2| x £ in. Bequeathed by Sir W. Temple,
1856. C. I. L. x. 8059, 148 ; Guarini, Sugg. Ant. p. 57.
3036. STAMP. ^^^ P. Pompei Liberate. i\ x | in. Bequeathed by Sir W. Temple,
1856 C. I. L. x. 8059, 324 ; Guarini, Sugg. Ant. p. 61. Handle repaired.
3037. STAMP. ^B^RNAEI ' C. Gra\n\i Abinnei. 2\ x \ in. Bequeathed by Sir W. Temple,
1856. C. I. L. x. 8059, 185.
3038. STAMP, shaped like a reversed g. C • CVIO (?). Length 2^ in. Bequeathed by Sir
W. Temple, 1856.
3039. STAMP, of cEP shape. sECVrfm"1"' C Dasiati Secundi. 2f x f in. Bequeathed
by Sir W. Temple, 1856. C. I. L. x. 8059, 140 ; Guarini, Sugg. Ant. p. 65.
3040. STAMP inform of dolphin. C j^pH^1? C. Emuleni Rufini. Length i\ in. Bequeathed
by Sir W. Temple, 1856. C. I. Z. x. 8059, 105.
3041. STAMP. L • R"&ONI • CA L. Petroni Ca(pito>). On the top of the handle is a sinking
form. 3 x 1 in. Bequeathed by Sir W. Temple, 1856. C. I. L. x. 8059, 312.
-f
3042. STAMP. M • A/TDNI M. Antoni. z\ x \ in. Bequeathed by Sir W. Temple, 1856.
C. I. L. x. 8059, 41 ; Guarini, Sugg. Ant. p. 57.
3043. STAMP in shape of a shoe. PAN EG YR I Panegyri. Length 2 in. Bequeathed by
Sir W. Temple, 1856. C. I. L. x. 8059, 3°4 ; Guarini, Sugg. Ant. p. 31.
3044. STAMP. oLYMPICI T' Flavi 0lymPki- i* X £ in. Bequeathed by Sir W. Temple,
1856. C. I. L. x. 8059, 169 ; Guarini, Sugg. Ant. p. 65.
3045. STAMP. y£ Victo(r). if x 1 in. Bequeathed by Sir W. Temple, 1856. C. I. L. x.
S°59j 438 ; Guarini, Sugg. Ant. p. 62, Letters incised.
364 CATALOGUE OF BRONZES.
3046. STAMP. A CA/CI • PR • L A. Cauci, Pr. L. On the handle, a sinking ^ . 3 J. x | in.
Bequeathed by Sir W. Temple, 1S56. C. /. /,. x. 8059, 102.
NONIT
3047. STAMP, in form of crescent-shaped shield {pelf a). ERMIN Noni Terminalis.
ALIS
Diam. 1} in. Bequeathed by Sir W. Temple, 1856.
CEO
3048. STAMP, in form of a dolphin. C TREB R1A C. Trebioni) Cerialis. Length 2 in.
LIS.
Bequeathed by Sir W. Temple, 1856. C. I. L. x. 8059, 407 ; Guarini, Sugg. Ant. p. 34.
3049. STAMP, circular. P • EGNATI SEMPRONI P. Egnati Semproni. Diam. i§ in. Be-
queathed by Sir W. Temple, 1856. C. I. L. x. 8059, 145.
3050. STAMP. EVPREPE Galliani Euprep{is). Length l± in. Bequeathed by Sir W.
Temple, 1856. C. I. L. x. 8059, 175. Handle broken.
VICT
3051. STAMP, in the form of a leaf. °OR • Victor. Ht. \\ in. Bequeathed by Sir W.
TT
Temple, 1856. C. I. L. x. 8059, 439.
3052. STAMP. c?A^AEOF 2 x J in- Burgon Coll.
3053. STAMP. Tc'Vs^f T. V. VecusesQ). ij x 1 in. Presented by General Meyrick, 1878.
3054. STAMP. 2p°RNO0(9A C' N' Ca' A^ro- 2 x * in" Presented bY General Meyrick, 1878.
3055. STAMP. SyV^SA S. V. Sa. Length n\ in. Presented by General Meyrick, 1878.
3056. STAMP. SAVNI Sav{t)ni (?). 3| x i| in. Presented by General Meyrick, 1878.
Handle with knob.
3057. STAMP. GLYC0NigN P' Petron{f) Glyconis. z\ x \ in. Presented by General Meyrick,
1878. Handle broken.
3058. STAMP. AQAT>iEM^R Sex' Caeli ASatfiemerif)- 2} x 1 in. Presented by General
Meyrick, 1878.
3059. STAMP. JiMAVR?' T' Vala& Nimauri. On the handle: TVM. 2 x | in. Pre-
sented by General Meyrick, 1878.
3060. STAMP. LAM. Length 2 in. Presented by General Meyrick, 1878.
3061. STAMP, in the form of a ship. Titi Macuni TIT I ♦ MACV
Saturnini. 1% x if in. Presented by General Meyrick, \ NIC SATVR
l8?8" ^/iH n^hfC
3062. STAMP, ^a MaP<™H- »¥ X I in. Presented by General Meyrick, 1878. Letters
incised.
3063. STAMP. M0A0PIV M. A.Piu(s), i.e. M. Antoninus Pius (?). Length 2] in. Presented
by General Meyrick, 1878.
3064. STAMP. §L^MENTIS -' Munati Clementis. Length 2 in. Presented by General
Meyrick, 1878. Handle broken.
STAMPS. 365
3065. STAMP in the form of a shield {pel/a). 5™^ R- Anthermi. Above, a leaf.
' HERW
1 1 x 1 2 in. Presented by General Meyrick, 1878.
3066. STAMP. CANNEI. Length if in. Presented by General Meyrick, 1878.
R • V
3067. STAMP. AMPLIATI R. V. Ampliati Aug?. Rec. Length if in. Presented by
AVGG REC '
General Meyrick, 1878.
3068. STAMP, in the form of a foot, with design of a quadriga driven to 1. followed by two
runners. Length 2| in. Presented by General Meyrick, 1878. Handle broken off; very
rude.
3069. STAMP. JRAP^s°N' T' Pomponi Prastis. 2f x J in. Hamilton Coll. 1.
3070. STAMP. C-gP| • l-E^T C. Grant Herae. Length 2 } in. Hamilton Coll. 2. Handle
broken.
3071. STAMP. ^sevErT' Q- Pompei Sevcri. 2\ x \ ; in. Hamilton Coll. 3.
3072. STAMP. AISOS ■ IPICL Aisos Ip(h)icl(isl). 3 x J in. Hamilton Coll. 5.
3073. STAMP. NpAVST|SI N- Blaesi Fausti- 0n the handle, V\T. 2 x \ in. Hamilton
Coll. 6.
3074. STAMP. PPRocVLI>lt P- PoUenti Proculi. On the handle, P • P • P. %\ x I in.
Hamilton Coll. 7.
3075. STAMP. P phoSJ*1 P' SeP*imi Ptoebi- 2| x 1 in. Hamilton Coll. 8. Handle
lost.
3076. STAMP. y^.0 ^Jl Leonti vincas. In the middle is the figure of a lion. 2jjx|-in.
Hamilton Coll. 9.
3077. STAMP. tISJlAMI TL Claudi Thalami. 2 x 1 in. Hamilton Coll. 10.
3078. STAMP. ivcvUdi/E Rustiae lucundiae. On the back of the handle, HDDO (?).
2§ x I in. Hamilton Coll. 11.
o«™ MVKB
3079. STAMP. QVINT- I M(u?). A'. B. Quintiliorum. 2\ x i| in. Hamilton Coll. 12.
LIORVM
3080. STAMP. ^^^^^^Marci Her{e)n{ni) Alcxandri P. R. 2{ x j in. Hamilton
Coll. 13. Handle lost.
3081. STAMP. cRA"y?' N- Luci Cra ■ • • x* x l in- Hamilton Co11- J4- No handle.
3082. STAMP, a mot,1}} L. Lucili Festi. Length i£ in. Hamilton Coll. 16. Handle lost.
3083. STAMP. G • C ■ V I V I G. C. Vivi (?). Length \\ in. Hamilton Coll. 17. Handle solid,
pierced with a small hole.
3084. STAMP. uJSvAm C- P«b{Ji) Ianuari. i\ x £ in. Hamilton Coll. 18.
3085. STAMP. MEH. On the handle is incised : f. Length if in. Hamilton Coll. 19.
3086. STAMP. EVCSAARCpRvJTO M' Sacrato Eucarpui. Length 2| in. Hamilton Coll. 20.
Handle broken.
3087. STAMP, in the form of a fish. UA/flAJ Ilaj-^iXi {sic). Length 3^ in. Hamilton
Coll. 22.
o
66 CATALOGUE OF BRONZES.
3088. STAMP, in the form of a ship. ASPER Asper. Length \\ in. Hamilton Coll. 23.
3089. STAMP, ciicular. C|J3_ Contes (?). Diam. 2 in. Hamilton Coll. 24.
3090. STAMP. A_\»| Alypi. Thick ring-handle, with a caduceus between two diamonds
incised on the flat part. Length \\ in. Hamilton Coll. 25.
FELICIS
3091. STAMP. AMVLLI Felicis Amulli Gemel(/)ae. 2 x 1 in. Hamilton Coll. 26.
GEMELA=
Handle lost.
3092. STAMP. q^qR *f Q- Nerati Quadrati. i^xjin. Hamilton Coll. 28. Handle lost.
Letters incised.
3093. STAMP. C p(^M?N C- Caesenni Firmi. 2 x J in. Hamilton Coll. 30. Handle
broken.
3094. STAMP, in form of shield {pe/ta). M ■ AL ■ A> M. Am/. Ap. Diam. 1^ in. Hamilton
Coll. 31. Handle broken.
3095. STAMP. C • V ■ F • Y • F. Cu{rator) . . fipciundist). Length \\ in. Hamilton
Coll. 32.
BASILEI
3096. STAMP, in form of leaf. SE-XDS Basilei Sex(ti) Stert(inii). Ht. i|in. Hamilton
TER
Col 33- V
3097. STAMP. Ason!l1_A3A(?E Allece Caesonilla. Length \\ in. Hamilton Coll. 34.
3098. STAMP, of crescent-shape. AOMNOY- Aofi(i)vov. Length 2f in. Hamilton Coll. 35.
3099. STAMP. L • V • S • A L{ibens) viptum) sp/vit) a{nimol). Length if in. Hamilton
Coll. 3°.
3100. STAMP, in the form of a shoe. CS|l^nT_ Cm Host{Jlii) Silvini. Length i| in.
Hamilton Coll. 37. No handle.
3101. STAMP. L • Tl • I. Length i^ in. Hamilton Coll. 38.
3102. STAMP. L 4rtTIa1/I1 L- Aesenni Terti{t). if x \ in. Hamilton Coll. 39. One
end injured.
3103. STAMP, of crescent-shape. Q VIRILLIO Q. Viri/lio. Length \\ in. Hamilton
Coll. 41. Letters incised.
3104. STAMP, in the form of a shoe. DONA -^. Lengthen. Hamilton Coll. 43. Handle
broken. Letters incised.
3105. STAMP. MQGOF. 2J x f in. Towneley Coll.
3106. STAMP. gIaTIUAI Veturiani Gratiliaifti?). \\ x \ in. Towneley Coll. Letters
incised.
3107. STAMP. caeleSTIs' " ■ eresmari Caelestis. i\ x 1 in. Towneley Coll. One end
broken.
3108. STAMP. S.pf^.+w,' Q- Gagi/i Primitivi. i\ x { in. Payne Knight Coll.
3109. STAMP. OPTMPF Opt(i)m(a) p{id) f{elix\ or /{idelis}). Length 2 in. Purnell
Coll., 1872.
STAMPS. 367
3110. STAMP, in form of shield {pelta). chRYSIPPI 7" Iuli chrysiPPL ij X I in.
Purnell Coll., 1872.
3111. STAMP. f^MiT FlaVi DH' LenSth2iin- Purnell Coll., 1872.
3112. STAMP. C • A • IVS, Cains or C. A. /hs(/us). Length i-J- in. Presented by John
Henderson, Esq., 1870.
3113. STAMP, in form of a foot. SVSRN. Round the edge, a feathered line or wreath.
Length 2\ in. Blacas Coll., 1867. Letters incised.
3114. STAMP, ^^g1 C. Gavi Vitalis. 2| x \ in. Blacas Coll., 1867.
3115. STAMP, in the form of the letter S. M SEI SALVI M. Sei Salvi. Length 2| in.
Blacas Coll., 1867.
3116. STAMP. ALEXIORVM. Length 2} in. Blacas Coll., 1867.
3117. STAMP. hesyCi"-1 L- Aemili HesychL 2 x J in. Blacas Coll., 1867. Handle
broken.
3118. STAMP, cyvya- ^x*in- Castellani, 1873.
3119. STAMP. £NE'VA^ Oi. Areu{s1). if x Jin. Castellani, 1873. The genuineness of
this stamp is open to doubt.
3120. STAMP. ^vef-^'lB1 L. Flaminiii) Ph{pe)bi Libiertus). Length if in. Castellani,
1873.
3121. STAMP. TvGGG Primitivi Aug{ustornm), sc. under three Emperors. i| x ] in.
Castellani, 1873.
3122. STAMP, in form of shoe. VIVATIS4 Vivatis. Length i| in. Castellani, 1873.
3123. STAMP. ^'//(^ C. Afar. MaximiJ). 2\ x | in. Castellani, 1873. Handle lost.
One end of the stamp is serrated.
3124. STAMP. ^LE^tfs Q- Trebi Cle»ieniis- 2« x x in- Castellani, 1873. Handle
broken off.
3125. STAMP. ° |BE^RALN C' Petron^) {L)iberal{is\ Length 2f in. Castellani, 1873.
Handle broken.
3126. STAMP. C • PAM • FEL C. Papi{ns) Fel{ix). Length 2} in. Castellani, 1873. Handle
lost. Letters incised.
M 0 VI
3127. STAMP, in the form of a leaf. BRI M. Vibrirri. Ht. \\ in. Castellani, 1873. No
RR
handle. '
3128. STAMP. FpE|ANM Fl{avius) Pompeian[us). 3J x i| in. Castellani, 1873. Letters
incised.
3129. STAMP. VIOLV. Length 1 in. Castellani, 1872. Letters incised.
3130. STAMP, in the form of a shoe. ALBINI <Z Albini. Length if in. Castellani, 1872.
3131. STAMP. ^occeVvS8 M- Aurelius Cocceius. 3i x ig in. From Malta. Presented
by T. W. N. Robinson, Esq., 1886. The handle is in the form of a solid knob.
d
68 CATALOGUE OF BRONZES.
3132. STAMP. YTA. 2} x if in. Sidon, 1895.
3133. STAMP. L • X • S. Length 2| in. 1852. Handle broken.
3134. STAMP. C o V o A Cuit-ator) AipnonaeT). Length x\ in. 1852.
3135. STAMP. LEO VIVAS Leo vivas. Length 1^ in. 1852. Letters incised and obscure.
3136. STAMP, in the form of the letter S. POLLENT! Pollenti. Length \\ in. 1852.
3137. . STAMP. Co"o o? ECCI C- Letidi Co ••• eccL Len§th !f in- l852-
3138. STAMP. jHAERONIS ^' -^u^iCi Thaeronis. On the back of the handle is a nude
man looking to 1., with r. hand raised and some object in 1. Length if in. 1852. Letters
incised. Of doubtful antiquity.
3139. STAMP. p C. Povipei Isidori. On the handle is incised: T. if x \ in.
1852.
3140. STAMP. Aa|StICML A' Cornel(i{) Asyntychi. 2\ x i in. 1852.
3141. STAMP. gn/frAOlfr L' Valeri'^aya6t- 2£x|in. 1853. One end broken.
3142. STAMP, in the form of a shoe. PERCVLANI •=?. Length 2 1 in. 1853.
3143. STAMP. PaprVq~. p> Gauleni Apri. On the handle is incised: MEN (?).
2\ x I in. 1853.
3144. STAMP. sew^dI1 C. Antoni Seven'. On the handle is incised a steering-oar.
2\ x 1 in. 1853.
3145. STAMP, square, with eight small projections round it, and a small one at the back, in
which a hole is pierced. 9 I p. Ht. i| in. 1853.
3146. STAMP, in the form of a shoe. ALBINI Albini. Length \\ in. Germany, 1853.
Letters incised.
3147. STAMP. vICASIaVh C' Hirri Vicasiani- 2i x i in- l853-
3148. STAMP. SAGITTI Sagitti. 2 x f in. 1853.
3149. STAMP, crescent-shaped. VTF Uteire felix). Diam. 1 in. 1854.
3150. STAMP. M|coST C' P' P' Nicost^ati)i perhaps conductor portorii pitblici. See
Wilmanns, Exempt. La/. 2408. Length if in. 1855.
3151. STAMP. SIMPtCI Simplici. Length if in. 1855.
3152. STAMP, ^vim^' Ti.€laudilustu \\ x f in. 1855
3153. STAMP, in the form of a shoe. <j GAVDEAS* Gaudeas. Length i| in. 1858. Handle
broken. Letters incised.
3154. STAMP. C • A • S. Length \\ in. 1858.
3155. STAMP. INAXPI. iix|in. 1858. Letters incised.
3156. STAMP, in the form of a shoe. Q F PRIM ^ Q. F. Primii). Length 2 in. 1858. Handle
broken.
3157. STAMP. LsvPETRlf)lp"/- Fotidi Superi. ij X 1 in. 1848.
STAMPS.
3^-9
3158.
3159.
3160.
3161.
3162.
3163.
3164.
3165.
3166.
3167.
3168.
3169.
3170.
3171.
3172.
3173.
3174.
3175.
3176.
3177.
3178.
3179.
3180.
3181.
3182.
3183.
e y r
STAMP, in the form of a shield (pel fa). N O M Evyucouovlnv Myron. ... 2J x lj ;n.
©NIOYM
Borrell Coll., 1852. Letters incised. HTPO
L • N • PR ISCI
ANNIANI ^" ^' Priscl Anniani. Length i| in. 1856. Letters incised.
IANOY &r)nrjTpeiavov. Length 3 J in. Bequeathed
STAMP.
STAMP, in the form of a shoe
by Miss Auldjo, 1859. On the handle, a knob.
CALLIDORVS
STAMP. QOCALVISI Callidorus Q. Calvisi Sabini Cu(rator). 2' x i^ in.
SABINI • C . V
\ S™<^>R N Seven Aug(usti) n(ostri) Disp(ensator)
DISP
AVG are two figures of snakes. 2~ x 1 in.
Above and below
STAMP, in the form of a foot
STAMP
L ■ C
L- C
1853.
M • I
M • E
Handle broken.
Length i\ in. Centorbi, 1863.
STAMP.
STAMP.
STAMP.
NARD '* Of(ficina) C. F. Nard(i>). i| x j
L- SVLPICI T c ... . . . 3
A/fc. R M N I L. Sulpia Anermnt. 2} x 1 in.
RAPSAB.
PRIMI
C 0 C 0 S
I \ x I in.
Primi C. C. S. i\
STAMP, of semicircular shape. M • C • L • N. if X if in. Handle broken.
STAMP, in the form of a shoe. FL SCLADON Fl{avius) Scladoniius). Length 2| in.
Letters incised.
COLOSSI
AGRIPPAE C°l°ssl ' Agrippae. On the handle, a trefoil sinking. 2| x \ in.
STAMP.
STAMP.
v M • ROMANIO ., „ . e. , . , . N , . v •
EVOKA • AVGG • NN Romanio Lvoka Augiiistornm) uipstrorum), i.e.
under two Emperors. 2| x 1 in.
STAMP. VI B • AHIVM • VI B F Vib(ium) Allium (?) Vib'ji) /{ilium). 4J x | in.
STAMP, in the form of a cross. M • RV • 9 | PRO? M. Ru. Pro. i{ x \\ in.
STAMP. LAR. Perhaps Hibrarius) aricarii) ; cf. Wilmanns, Exempla Lat. 1489.
1 s x l in.
STAMP. CINNAAI ^" Ttrenti Cinnami. 2 X £ in. Handle broken.
STAMP. PEI • WA Pel UnaQ). Length if in. Letters incised.
PECVLI
STAMP. AR13 a Peculiaris. On the handle is incised a caduceus. Length i| in.
STAMP.
clcTp 2'i CarPionis CL p- s- l* x I in-
STAMP, in the form of a shoe. N/TERE Utere. Length \ in. Letters incised.
STAMP. pELof Were felix. Length f in. Presented by General Meyrick, U
Ring at back.
VII
STAMP, in the form of a ring ; on the bezel : ^71 E. Diam. I in. Castellani, 1872.
Letters incised.
STAMP, in the form of a shoe, with ring at back ; incised design of a roaring lion running
to 1. ; in the field, a crescent and an arrow-head. Diam. \ in. 1855.
RING, incised : L. Diam. \\ in. 1853.
2 B
3/0 CATALOGUE OF BRONZES.
3184. RING, incised : + VIM X. Diam. | in. Castellani, 1872.
3185. RING, incised : XLI. Diam. | in. 1853.
3186. RING, incised : XXXI. Diam. £ in. 1853.
3187. RING, incised : XIIX. Diam. ff in. Castellani, 1872.
3188. RING, incised : VXX. Diam. £ in. Castellani, 1872.
3189. RING, incised : XXIII. Diam. f- in. Castellani, 1872.
3190. RING, incised : XII. Diam. | in. Castellani, 1872.
[On these rings (3183-3190) see Friederichs, Kleinere Kunst u. Industrie, p. 115.]
3191. MAGIC NAIL, inscribed on all four sides :
(«) DOMNAARTEMIXKRNEASREASSOKBEKATENATVASENCANES
IVOAGRETESSIABATICOSSBEA KBOSSIbEOVENhVECO KORESAPERTABV
(*) CA • BE ■ NFAPETARVRARET:ANBAVIVIBENITBATVI'REAiANDKORA S . T
(e) RASAINCORTENOSTRANONI • I^TRENPEkORANOSTRANONTANGAfJETA
to SINOSNOSTRONOMOkESTETERDICOTERINCANTOINSIGNVDEIETSICNVSOKOMON
TSICNVDEDOMNAARTMIX. USE
Length 8~ in. Bequeathed by Sir W. Temple, 1856. Orioli, ITun cJiiodo magico, p. 14 ;
Ann. deW Inst. 1846, pi. h, p. 214 (Henzen) ; Bull. deW Inst. 1846, p. 184, 1847, p. 100,
J849> P- IO ! Minervini, Novelle dilucidazioni, Naples, 1846, p. 3 ff. ; Jahn in Ber. d. sacks.
Gcsellsch. 1855, P- io7- The inscription is evidently an incantation to Artemis ; for the inter-
pretation, see Henzen and Jahn, ad loc. On the subject see also Daremberg and Saglio, i.
p. 1 24 1, art. Clavus.
3192. MAGIC NAIL, with large circular head, inscribed on three sides :
ABARAXAS- ASTRA- EL *
IAO SABAO * *
SOLOMONO * * *
On the fourth side is a snake (?), or perhaps a twig. Length 4 in. Jahn, Ber. d. sacks.
Gesellsch. 1855, p. 108, No. 2. For IAO see King, The Gnostics and their remains'1, p. 319 ff. ;
for SABAO (" Glory unto thee"), ibid. p. 327.
3193. MAGIC NAIL, with various unintelligible signs, partly pagan, partly Christian :
to ^ANHOMBG # fish.
(*) rr efO*N
(0 # u> # snake, et;. *
UA*4>
to P T cf- snake.
*
Length 3i in. Castellani, 1873. Minervini, Novelle dilucidazioni, p. 33 ; Jahn, op. cit.,
p. 109, No. 4.
3194. MAGIC NAIL. On the head, seven stars, surrounding a small figure running to r.,
with 1. hand raised. On the four sides :
(a) GdCOA XXX snake with head to I.
(n) Snake with head to 1.
(c) A winged man looking to r., with short chiton, 1. hand raired ; some object in
r. ; below, a dog- (or ape-) headed man kneeling to r. with 1. hand raised.
(d) A kneeling woman (?) to 1., and a dog- (or horse-) headed man to 1. with short
chiton, holding a branch in either hand. Inscribed : WAfc) P.
Length 5g in. Castellani, 1873.
.)/
III. APPENDIX.
RECENT ACQUISITIONS
(3195— 3216).
Of these, Nos. 3195-3203 belong to the Mycenaean period ; 3204-3208 are
Archaic Greek; 3209-321 1, Greek of the best period ; 3212-3213, Etruscan ;
and 32 14-32 16 date from the Graeco-Roman period.
3195. Cow lying down ; well modelled and life-like, though in miniature.
Length 2| in. From excavations on the Bronze-Age site of Zarukas, Maroni, Cyprus,
1897 ; tomb 19. Mycenaean period ; cf. the goat from Ialysos, No. 42.
3196. Two Weights, circular, with curved tops and straight sides, like a cake.
Diam. of each, 1 in. From excavations at Maroni, Cyprus, 1897 ; tomb 3. Mycenaean
period.
3197. Hinge from door of tomb, shaped roughly like a shoe.
Ht. 6| in. From a site known as Bamboula or Vournais, near Maroni, Cyprus, 1897.
The tomb was empty ; probably of the early Graeco-Phoenician period.
3198. Seven Daggers with hooked tangs, of the common Cypriote Bronze-Age
type (cf. Nos. 50, 52, and Myres, Cyprus Mus. Cat. Nos. 551-558) ; in one case
the tang is broken.
Length 18^ to 8| in. From excavations at Maroni, Cyprus, 1897 ; one from tomb 3,
two from tomb 9, one from tomb 28, and three found in unnumbered tombs or on the surface.
3199. Knife-blade, with two rivets for handle ; much broken.
Length 4| in. From excavations at Maroni, Cyprus, 1897 ; tomb 1.
3200. Six Knife-blades, of the usual type, with rivets for attachment of handles.
Length 5^ to 8 in. From excavations on a Bronze- Age site near the Hala Sultan Tekke,
Larnaka, Cyprus, 1897.
3201. Arrow-head, of type D (see p. 346).
Length \\ in. From the Tekke site, 1897.
2 B 2
37;
CATALOGUE OF BRONZES.
Fig. 85 = No. 3204.
Fig. 86 = No. 3cOf.
APPENDIX.
373
3202.
3203.
3204.
3205.
Butt-end of Spear, conical ; rather thick.
Length 2^ in. From the same.
Implement pointed at both ends, the middle part square in section.
Length 4g in. From a Bronze- Age tomb at Klavdia near Larnaka, 1898.
Fibula of the Geometrical period, with bow formed of a thin vertical plate,
crescent-shaped ; the foot is a moulded knob terminating in a flat piece bent up to
hold the pin ; at the head is a spiral, above which are six projecting spikes ending
in rosettes. On the bow are incised designs : (a) (Fig. 85). In the centre, a rosette
of six large petals alternating with groups of three smaller ones, surrounded by-
concentric rings and intersecting arches. At the 1. end is a ship in which are
two nude men, one engaged in steering with his r. foot,* the other in fastening a
rope to the forecastle. At the stern are a steering-oar and curved aphlaston,
and both here and on the bows are cabins (?) of open work ; at either end of the
boat the beams project. At the mast-head is a square object, apparently a
lantern (cf. Ann. dell Inst. 1880, pi. G, figs. 1-5, and Helbig, Horn. Epos,2 p. 46).
Two birds hover over the ship, and two fishes are seen below. On the r. is a
large maeander-cross interspersed with circles and tangents ; round this hover
four birds, and below are three fishes,
patterns.
At either end are chevron and lozenge
{b) (Fig. 86). In the centre, a rosette, as on (a). On the 1. are two very rude
figures conversing, each holding up a bird by the neck in 1. hand : the one on
the r. wears a necklace (?) ; the head and upper part of the other are lost. On
the 1. of them are three birds and three fishes. On the r. a man to r. is attacked
by a wolf or lion (see No. 3205) ; behind the animal is a scorpion ; above are
six birds and below is a fish to 1. At either end are chevron patterns.
Length 9^ in. Greece, 1898. Frigments pieced together ; part of the bo'.v wanting.
Fibula, as the last ; the two may have formed a pair. On the bow are
incised designs : (a) (Fig. 87). In the centre is an elaborate rosette of twenty-four
points, as on the last, within concentric rings and two bands of intersecting
arches. On the 1. is Heracles in combat with the Hydra. Heracles to r.
nude, seizes "with 1. hand the neck of the Hydra, which has six heads, and rears
up against him ; in r. hand he holds a sword of the type of Fig. 78, No. 2737.
At his feet is the crab of Hera, apparently about to seize his r. foot in its claws.
Below is a diminutive man (Iolaos?) to r., only one of whose legs is indicated,
holding out a twig (?) in r. hand across the Hydra's body (perhaps a cord
which he is binding round it) ; on either side of him is a bird apparently
pecking at him, and on either side of the Hydra is a bird. Above on the r. are
two more birds, pecking at the Hydra (?), and another on the 1. side of
Heracles ; on the 1. are five fishes to r., one above the other. The right
* Cf. Bacchylides, xiv. 10, -nap xfiP"st which implies other kinds of steering. Possibly the word
r/;8aAioj' is connected with xous.
74
CATALOGUE OF BRONZES.
APPENDIX.
375
side is nearly all lost, but part of a horse to I. is visible, covered with a saddle-
cloth with crenellated border ; in the field are eight birds, all but one to the 1.
At the ends are two rows of chevron pattern.
{&) (Fig. 88). In the centre, a rosette, as on (a). On the I. are five warriors
advancing to r., with long-crested helmets, circular shields, and spears ; of the two
hinder warriors little remains. Confronting them is a bird, and above are three
birds to r. and one to 1. On the r. is a chariot with one horse advancing to 1. ; the
body is tilted up in front so that the pole rises above the horse's back ; the horse
jibs slightly. The charioteer holds the reins in 1. hand and a whip in r. ; the
chariot-wheels are very small. At the horses' heads stands a woman, full face, with
a plait of hair (or large earrings ?) projecting on either side of her face ; her hands
are raised, and in the 1. she holds up a bowl or dish (?). Below are two birds to
r. Above is a lion to 1. devouring a man or an animal, whose legs appear
hanging out of its mouth (cf. No. 6oo and Arch. Zeit. 1885, pi. 8, fig. 2) ; in front
of it are two birds, and below, a diminutive quadruped to 1., grazing. At either
end are chevron patterns, as before.
Length 8 in. Thebes (?), 1898. Foot and pin and parts of bow lost. The subject of
Heracles and the Hydra is a unique instance of a mythological subject on these fibulae, as on
any objects of the Geometrical period. It is also the oldest representation of this particular
subject, the next in point of time being the poros pediment found on the Acropolis of Athens
(Ephem. Archaeol. 1884, pi. 7). See Studniczka in Jahrbuch, i. (1886), p. 87 ff. ; also Ephem.
Archaeol. 1885, p. 233 ff. ; Athen. Mittheil. x. (1885), p. 237 ff. ; and Furtwaengler in Roscher's
Lexikon, s.v. Herakles, p. 2198.
3206. Winged Goddess. She kneels on a curved base ornamented with a pattern
of three palmettes connected by volutes ; her knees are turned inwards, and her
hands are extended. She has long hair falling in a mass of fine curls down the
back, with tresses over the shoulders, and wears a long chiton and shoes ; she
has wings starting from her waist, and a smaller pair from her heels, the feathers
on the former being carefully rendered.
Ht. l| in. From Civita Lavinia. Tyszkiewicz Coll., 1898 (Sale Cat. 125). Right hand
corroded ; left hand lost. Archaic Graeco- Italian work ; extremely minute and refined.
3207. Disc, engraved with a dedicatory inscription by Exoi'das (v.l. Exotra) to the
Dioscuri, in the Doric dialect and the alphabet of the Ionian islands (dating
from the sixth century B.C.). The inscription is retrograde, the letters being
arranged to form a spiral :
OI0 4A>3AAMIO4O0M03l43H3®3vAAAflC]10Mf;3
MOMi®AD^A1MA/iAAA*^>I^MA>!lv1IOBviO^>iAAf
'E;y^xotSa(<>) fji dveOrjfce Atfo? ^ovpotv fieyaXoio
^d\Keov, a> vlicacre Ke^>aX(A,)oj/a? fieyaOv/jLovs.
Compare (1) Horn. Hymn, in Diosc. 33, 8 : ev^ofxevot icaktowi Aws Kovpovs
fxeyuXoio ; (2) Horn. //. ii. 631 : avrap 'OoWo-eu? ?yye KecpaW^vwi p.eyadvp.ov*i.
376 CATALOGUE OF BRONZES.
The disc is appropriately dedicated to the Dioscuri, as Castor was famous for
throwing it (Pind. Isthm. i. 25).
Diam. 6| in. From Cephallenia (?). Tyszkiewicz Coll., 1S98 {Sale Cat. No. 161). Coll.
Tyszkiewicz, pi. 27 ; Revue Archeol. xviii. (1891), pi. 18, p. 45 ; Dittenberger, C. I. Cr. Sept. iii.
No. 649 ; Kirchhoff, Studieu,4 p. 167 ; Larfeld in Jahresb. iiber d. Forhchr. d. Altertumswiss.
lxxxvii. (1895), p. 224; Fleckeisen's Jahrb. fiir klass. Phil, cxliii. (1891), p. 588; Hoffmann,
Syll. Epigr. Graec. p. 143, No. 288 ; Wochenschr. fiir klass. Phil. viii. (1891), p. 859, No. 31.
The disc is somewhat worn and battered. It weighs 2 lbs. 12 oz.
3208. Bull, representing Apis, walking with 1. fore and hind legs advanced. On
the head are a disc and uracils ; round the neck a fringed band is incised, behind
which is a scarabaeus with wings spread. On the back is an embroidered saddle-
cloth with engraved diaper patterns, and on the hind-quarters a hawk with wings
spread. The base is ancient and is inscribed : TOirANEPiMANE^TA$E^oovAH$,
Tw Hdveiri (?) fiaveo-racre Xto/cvSr)*;. The deity referred to maybe Ba-en-ptah ;
the letters are of the fifth century B.C.
Ht. 4 in. Length 3! in. From a Greek site in the Delta of Egypt. Formerly in the
possession of Dr. Mead (see Introduction, p. xiii.) ; acquired 1898.
3209. Aphrodite, forming stand of mirror, as Nos. 238-243. Her hair is parted
and waved, and drawn into a knot at the back ; she wears a long chiton
with apoptygma ; with 1. hand she draws aside her skirt (' Spes ' motive), and in
r. she holds out a dove. She stands on a plinth supported" by two Pegasi with
recurved wings and legs outstretched as if galloping at full speed. Above her,
supported on a double volute, is a curved piece on which the mirror rests,
engraved with palmettes and foliations ; at either end is a volute, to which
a flying Eros is attached by one wing.
Ht. 17] in. Sold at Christie's, 1897 (Lot 32); acquired 1898. Bull, de Corr. Hell. xxii.
(1898), pi. 1, p. 204. The Eros on the left has lost the left arm and legs be'.ow the knees ; the
other, the right hand ; the mirror has been repaired. Greek work of the best period ; end of
fifth century B.C. The surface has not been finished off. Round the mirror are egg and bead
mouldings.
3210. Mirror-case, with cover, on which is an emblcma representing a horseman Plate
to r. He is beardless, and wears a triple-crested helmet with cheek-pieces, short XXXII.
chiton, and chlamys floating behind ; his r. hand, which is lost, has held the
reins. His horse rears up slightly ; a lion's skin forms the saddle-cloth.
The inside of the cover is polished ; a large and a small handle, and the
hinge for the attachment of the former remain.
Diam. 6 in. Found in a tomb at Elis ; acquired 1898. The subject appears to be
unique in bronze reliefs ; the horseman is a very fine composition, and the influence of the
Parthenon frieze is still apparent ; but the heavy proportions of the horse rather recall the
frieze of the Mausoleum.
3211. Mirror-case, with cover, on which is a relief of a female head to 1. The Plate
hair is drawn back in thick parallel waves, plaited and wound round in a knot XXXII.
behind, with the ends hanging down ; a broad fillet with incised patterns passes
APPENDIX.
3/ /
vertically over the head. Below, drapery is visible ; in the ears are thick earrings,
probably ending in lions' or bulls' heads, a type common in Crete and Cyprus
about the fourth century B.C. (cf. My res, Cyprus Mus. Cat. pp. 35, 124). Round
the edge is an ornamental band ; inside the case, concentric circles.
Diam. 6] in. Crete, 1898. In good condition ; late Greek work, about 300 B.C.
3212. Youthful Head, The hair is rolled up all round in a thick mass under a
fillet, and over the forehead is a row of elaborate curls. The head is cast solid,
and is a fine example of archaic Etruscan work under Greek influence ; similar
heads are to be seen on early coins of Tarentum.
Ht. 6 in. From Etruria. Tyszkiewicz Coll., 1898 {Sale Cat. No. 119). Coll. Tyszkiewicz,
pi. 13. Formerly in the possession of Sig. Castellani. Part of the back of the head is
broken away.
3213. Etruscan Mirror. Youth and girl playing at duodecim scripta : A youth
is seated to r. before a board {tabula lusoria), which stands on a table and is
marked with parallel lines ; he wears a himation over 1. shoulder and lower limbs
and holds up some of the pieces (?) in 1. hand. The girl, who is seated facing
him, wears a necklace and a himation which leaves her breast and 1. side
exposed ; her hair is gathered up in a bunch, and she holds out her r. hand to
the board. Above the girl is inscribed, in archaic Latin letters: DEVINCAMTED,
devincam te ; above the youth, OPEINOD, opinor. In the background are shewn
two walls of a room, with a cornice of egg-and-dart moulding. In the exergue
is a double band of chevron patterns, and round the design a scroll-pattern.
The game of duodecim scripta resembled the modern backgammon (see Smith,
Diet, of Antiqs.3 s.v. ; Becq de Fouquieres, Les Jeux des Anciens, p. 357 ;
Marquardt, Handb. d. rb'm. AltertJiiimer, vii., p. 834).
Length 8] in. Diam. 4} in. From Palestrina. Tyszkiewicz Coll., 1898 (Sale Cat.
No. 131). Coll. Tyszkiewicz, pi. 28. Late Etruscan period, thi.d or second century B.C.
3214. Heracles. He stands on r. leg, with r. hand extended, and in 1. his club
leaning against his shoulder ; he is bearded, and wears a fillet ornamented with
flowers, the ends hanging over his shoulders ; on his 1. arm is the lion's skin.
Ht. 4! in. Gaza, 1898. Rough work.
3215. Heracles (?). He stands on r. leg, with r. hand by his side, and 1. raised;
he is beardless, with short curly hair, and wears a chlamys over 1. arm and
endromides laced up in front, with patterns on the foot.
Ht. 8J; in. From Halicarnassos. Presented by the late Baron F. Rothschild, M.P., 189S.
Much corroded and worn. Graeco-Roman period.
3216. Votive Hand. The two first fingers are raised, the other two bent inwards.
On the wrist is incised : APICTOKAHC 'ApicrTo/cX?}?
EPICTAT6TCA i-rrta-TaTevaa^)
A I C A B A Z I U) Al lafiatyn.
Ht. 6{ in. Asia Minor, 1898. Green patina. For the dedication, cf. No. 874. Aristocles
had served as an eViordr^s or superintendent of some kind.
379
INDEX.
Aasai, 888
Abinneus, C, 3037
Acheloos, 211, 572, 574, 606, 968 ; head or
mask of, 483, 484, 584, 662 ; horn of,
1248
Achilles slaying Penthesilea, 285, 746 ;
arming, 623 ; at death of Troilos, 625 ;
sacrificing Trojan captives, 638 ; body
of, 670 ; with Patroclos, 883 ; armour
of, 623, 624, 638, 648, 728, 883
Achvizr, 634
Acrobat, 1624, 1625
Acrostolion, 121, 965, 967
Acta eon (?), 1453
Actor, 506, 742, 1626-1639, 1640?, 2967
acus discriminalis, 632, 722
Adonis (?), 303
Aecum, 892
Aegipan, 289, 1405 ?
Aelius Caesar, bust of, 834
Aemilius, 31 17
Aeneas, see 699 and 741
Aesennius, 3102
Africa personified, 973?, 1524
'Ayvprijj, 852
AjAX, son of Oileus, 285 ?, 622 ?, 1454 ? ;
, son of Telamon, 285, 622 ?, 625,
627, 670, 715, 719
Akenei, 888
Alabastron, 514, 623, 634, 658, 695, 721 ?,
1127-1129, 1 131
Albinius, 3130, 3146
Alcestis, 588
Alchsentre, 713
Alcumena, 719
Alexander the great (?), 839, 1618
'AXkiopos, 255
Allius Velox, L., 905
Alpnu, 678, 698, 700
Altar, 625, 699, 729, 730, 743, 823, 856,
865, 1450, 1626, 1633, 1634, 2255, 2270 ;
model of, 327, 881
Alttrei, 888
Alypius, 3090
Afiiato (?), 893
Amatutuni, 618
Amazon, 285, 296, 305, 560, 717, 746, 751,
816?, 867 ; head of, 1438, 1439, 2698
Ambracia, 334
Amenophis hi., 2259
Amentum, 452, 553, 637
"Afiios, 885
Ammai, 888
Amphiaraos, 622
Amphorae, 618, 627, 2300
Ampliatus, 3067
Amulets, 148, 158-175, 630
Anafriss, 888
Anaxyrides, 560, 742, 744, 867, 1016,
1020-1023, 1596, 1597, 1599, 1629, 1630,
1633, 1635, 1636, 1639
Anchises, 287, 727
Anchor, 3010
Andromache, 743
Anterstatai, 888
Anthermus, 3065
Antigonos, 336
Antinous, 845, 846
Antiochis (tribe of), 330
Antiochus, 900
Antiope, 706
Antiphatas, 262
Antoninus Pius, 2243
Anton ius, M., 3042 ; Severus, C, 3144
Ape, 144, 346, 366, 383, 1 85 1
Aphlaston, 121, 491 ?, 3204
Aphrodite, 188?, 194-198?, 200?, 279?,
280, 289, 434?, 447-449, 772, 1079-1124,
1559; Cnidian type, 266?, 793~795,
1079?, 1097-1107; Anadyomene type,
1084-1096 ; fastening sandal, 280, 282,
829, 1080-1083 ; Ourania, 199 ; Pan-
demos, 1 121 ; Euploia, 282; as stand
or handle of mirror, 238, 239, 240?,
38o
INDEX.
2|i-2433 5+9-552, 739, 880, 3209 ; using
strigil, 665, 755 ; toilet of, 634 ; accroupie,
1 108, and see 723; K(aro(f)6pos, mo;
armed (?), 2225 ; with Anchises, 287,
727 ; with Adonis (?), 303 ; with Eros,
292, 543, 546, 738 ; at birth of Cabeiri,
618 ; at toilet of Helen, 626 ; at seizing
of Helen, 627 ; reconciling Teuthras
and Auge, 62S ; with Dioscuri, 629 ; with
Lasa, 699 ; with other deities, 700 ? ;
with Heracles in Olympos, 704 ; at
Judgment <f Paris, 745 ; with Paris and
Menelaos, 746 ; head of, 266, 11 22-1 1 24 ;
and see Turan, Venus.
Apis, 3208
Apia, 700, 704
Apollo, 210, 270-272, 510?, 792?, 799, 828,
9^7_995 5 Amyclaeos (?), 185 ; Philesios,
209 ; Lykeios, attitude of, 1332 ; with
Etruscan deities, 700, '704 ; at death of
Neoptolemos, 743 ; head of, 273 ?, 800,
1019?; dedication to, 237, 894; alar
of, 743 ; lyre and quiver of, 873 ; bow
and quiver of, 829
Apollodoros, 324
'Ano^vofifuos, 669, and see Lysippos.
Apple, 739, 745, 827, 829, 1081, 1101, 1109,
1 1 1 1, 1112, 1119, 1167, 1245, 1248-1250,
1258, 1259, 1261, 1434?, 2499
Arch as, 713
Archer, 179?, 186, 337, 561, and see 741
Archilochos, 330
Architecture :
Building, 627?, 704, 70?, 709, 714, 722,
865, 867, and see below.
Corinthian capital, 10S6, 2552 ; column,
867, 1167, 2519
Doric column, 560, 706
Ionic capital, 76, 751, 780, 2968 ; column,
76, 247, 625, 628, 640, 696, 704 ; teira-
style temple, 628, 696 ; and see 709
Other capitals, 1168, 2551, 2560; columns
or pillars, 304, 737, 2251, 2254, 2271
Heroon, 298, 628 ; tomb or stele, 298, 311,
745, 871, 2267 ; monument, 745 ;
pyramid, 865
Portico, 628 ; harbour, 884 ; circus, 865
See Altar and Window.
ARES, 603, 798, 1071-1078 ; at birth of
Athene (?), 696 ; leg of (?), 265 ; and see
Mars.
Argives, 251 ; Argivo-Corinthian bronzes,
see p. xxxix and 187
Argus, 731
Ariadne, 311, 312, 630, 73}, 73;
Ario, 695
Aristion, 322
Aristocles, 3216
Aristomache, 188
Aristophon, 331
Armlets, 115,116; Etruscan, with pendants,
626,632,631,635, 639
Arms and Armour, 2704-2876 ; and see
p. lxvi ff.
Arrow, see Bow ; heads, 30-34, 2797-
2815, 3201 ; shafts, 94
"Apra/xos, 252
Artemis, 450, 997-1010 ; head of, 2565 ;
slaying Giant, 291 ; contest with Hera-
cles lor stag, 467 ; at death of Neopto-
lemos, 743 ; bow and quiver of, 829 ;
and see 720
Artery-forceps, 2320, 2321
Artile, 633
Asclepios, 1242, 1430
Asia personified (?), 973
ASICIUS N'ORBANUS, D., 894
ASK.OS, 1390; inflated, 556, 2526; and see
Wineskin.
Aspasia, 886
Ass, 411 ; head of, 167 ; and see Donkey.
assaracos, 726
Atalanta, 744, 745 ?, 746, 748
Atef, 186, 872, 1494
Athene, 189-191, 442, 443, 1034-1070,
224.4-2248; head of, 652, k 59-1070,
1710?, 2230, 2*44, 2246, 22^6, 3005;
birth of, 617, 696 ; with Heracles and
Hydra, 544 ; with Heracles and boar,
619 ; with Perseus, 620 ; with Achilles,
623, 638 ; with Dioscuri, 629, 70S ; with
other deities, 704 ; at Judgment of Paris,
745 ; double Athene, 636 ; boy with
attributes of, 1184 ; and see Minerva.
Athletes, 212, 213, 248, 257, 500-505, 557,
611,640, 668, 669, 675-677, 1621-1623,
1687?, 2473; and see 12 17, 1249, and
Boxers, Diskobolos, Wrestlers ; '
rings, 2692, 2693
Athlothetes, 257
Atlas, 259?, 1440
Attendant (of Phaedra), 289
Atys, 1020-1025, 1026 ?
Auge, 560, 628
Augustus, 894
AULUS VlBENNA, 633
INDEX.
;8i
AURELIUS, M., 836, 837 ; M. Cocceius,
3131
Aukiscalpium, 2395 ; and see Ear-pick.
Autumn, 15 14-15 19
Axe, 717, 720, 745, 746, 867, 873 ; and see
2975, 2976; head, 99, 100, 252,
383, 2942-2950
Axle-box, 2700
Bacchic revel, see Dionysiac scenes.
Badge of slave, 902
Ba-en-ptah (?), 3208
Balance, see Steelyard.
Balsamarium, 756-770, 870
Banquet-scene, 186
Barbarian warrior, 821 ; woman, 816; bust
of, 863 ; and see Gaul and Phrygian.
Basket, 966, 15:6
Bathers, 723 ; bathing instruments (lekythos
and strigil), 640, 742, 2455, 2456 ; and
see Strigil.
Battle-Axe, see Axe.
Bear, 587?, 1778, 1779
Bell, 318
Bellerophon, 640, 695
Belt, 2852-2858
Bes, type of, 664
Biga, 434, 560, 865, 2254, 2695
Bird on fibula, see Duck.
Birrus, 1521
Birth of Athene, 617, 6„6 ; of Cabeiri,
618
Bistoury, 2329, 2332-2341
Bitch, 1850
Bladder, 823
Blaesius Faustus, 3073
Blattius Creticus, P., 895
Boar, 560, 745, 2876, 2907, 2971, 2986 ; head
of, 669, 1 78 1 ; Erymanthian, 619 ; of
Mars, 873 ; of Artemis, 1001 ; hunt of,
1780
Boat, 345 ?, 884
Bodkin, 37 ?, 2382
Boot, 1676
Boreas, 310
BOSS of shield, 2899-2906
Bow, 179?, 186, 337, 542, 560, 561, 627, 741,
743, 829, 857, 868 ?, 988, 992, 995, 997-
999, u35, 1182, 1280, 1290; bowman,
see Archer ; bow-pullers (?), 2893-2898
Boxer (?), 526
Bracve, 788, 816-818, 821, 161 r, 1617, 1640
Brazier, 385, 436, 437
Breastplate, 2268, 2845
Breisae, 887
Bridle, 357, 358
Briseis, 883
Brooch, 2133-221 1 ; and as part of costume,
passim.
Bucephalus (?), 839
Bucket, 114 ; and see Situla.
Buckle, 2223, 2224, 2875, 2876
Building, see Architecture.
Bull, 177, 235, 36 r, 363, 366, 396-398, 56°,
572, 574,600, 974, 1800-1820; sacrifice
of, 290, 720 ; as Apis, 3208 ; head of,
148, 974, 1821- 1826, 2959?, 3012
Bulla, 493, 591, 598, 610, 617, 618, 626,
634, 640, 642, 666, 697, 712, 744, 745,
755, 872, 977, 1162, 1482, 1485, 1489,
1 49 1, 1492, 1500, 1704
Burlesque Scene, 745
Buskins, 1639
Butterfly, 1161 (?) ; wings of, 1176, and
see 746 ; brooch in form of, 2159
Butticus Thaero, M., 3138
Cabeiri, 618, 703, and see 318
Cabin (?), 3204
Cacus, 560, 633
Caduceus, 317, 873, 3177 ; winged, 802, 875 ;
and see Hermes.
Caelius Vibenna, 633 ; Agathemerus,
Sex., 3058
Caesennius Firmus, C, 3093
Caesonilla, 3097
Cafstus, 1621
Caile Vipinas, 633
Cake, 692, 693, 823 ?, 875
Calamis, p. xlii ; and see 214
Calathos, 187, 1459, 1510, 1530; and see
Modius, Polos.
Calceus Senatorius, 1583
Caledus, 891
Calf's head, 3004
Caligae, 798, 839
Callidorus, 3161
Callirrhoe (?), 726
Callistratos, 254
Callistus, 902
Calvisius Sabinus, Q., 3161
Camel, 222
Camilla (?), 741
Camillus (?), 1580
3S2
INDEX.
Canachos, p. xlii ; and 209
Candelabrum, 193, 247, 284, 448, 589-599,
603, 666-669, 771-781, 873, 2543-2558
Canephoros, 201, 202
Cantharos, 683, 734, 808, 871, 1270, 1271,
1336, 1337, 1444,2571
Capaneus, 2266 ; and see 579
CAPITOLINE deities, 873
Car, rustic, 602
Car vcalla, 788
Carminius Optatus, Q., 906
Carpio, 3178
Caryatides, see 1536, 1537
Cassandra, 729
Castor, 277, 629, and see Dioscuri.
Cat, 1776
Caucius, A., 3046
Cave, 288
CECROPIS (tribe of), 329
Celts, 35, 44, 49, 67 ?, 101, 291 1-29+1
Centaur, 184, 1242; brooch in form of,
2130
Centurion's ticket, 901
Cephallenians, 3207
Cestus, 1 1 10
Chair, part of, 785, 2568, 2569
Chaleion, 262, 263
XakKfTov, 336
Chaluchasu, 629
Chariot, 434, 618, 627, 649, 695, 700, 3205 ;
part of, 389-392, 6oo ?, 2696-2703 ;
model of, 106, 2695 ; — — race, 560 ;
and see Biga and Quadriga.
Charioteer, 434, 649, 865, 1595, 1619,
1620, 2254, 3205 ; and see Biga and
Quadriga.
Cheek-piece of helmet, 2844
Chelys, see Lyre.
Cheniskos, 107
Chimaera, 639
Chisel (?), 45, 324
Cinctus Gabinus, 1584, 1585, 1587
Circe (?), 724
Circulator, 1624
Circus (Roman), 865
ClSTAE, 284, 554, 632, 637-641, 742-747,
824, 870, 1589; handles of, 555, 556,
642, 643, 645, 748 ; feet of, 259, 644,
646-649, 749-752, 1702
Claudius (Emperor), 802? ; head of, 832 ;
Ti. Priscus, 901 ; T. Justus,
3152 ; T. Thalamus, 3152
Clavus angustus, i 57 i, 1584
Clio, 1027
Clodius Rufus, P., 2997
Cloud, 712
Club, see Heracles.
Clutmsta, 714
Clytaemnestra, 714
Cnidian Aphrodite, see Aphrodite and
Venus Pudica.
Coat of mail, 821
Cocceii, 2456; us, 3131
Cock, 288, 546, 626, 772, 774, 776, 777, 78 r,
806, 873, 1208, 1 891-1894 ; s fighting,
626.
Cockatoo, 1885, 1886
Colander, 572-574, 2471
Collars (of horses), 356, 744
Colonisation, instrument of, 262
Combat, 296, 305, 532, 621, 637, 674, 715,
716,741, 745,746,751
Comic actor, 742 ?, 1626-1638, 2967
Commodus, 839
Companions of Odysseus, 882
Compasses, 2669-2678
Conch, see Shell.
Copies of Statues, see Calamis, Canachos,
Lysippos, Myron, Onatas, Polycleitos,
Praxiteles.
Corinthian helmet, 251, 317, 624, 652,
798, 1034, 1036, 1038, 1047, 1056, 1059-
1064, 1066-1068, 1070-1072, 1075, 1077,
1548, 2816, 2818, 2820, 2821, 2825
Cornelius Asyntychus, A., 3140
Cornucopia, 311, 737, 812, 829, 873, 875,
976, 985, 1242, 1247, 1423, H56, 1458,
1459, 1464* 1465, 1474-1492, 1495, 1500,
1501, 1503, 1525-1539, !54i, 1543, 1545,
1546, 1557, 1562-1564, 1566, 1575,
2255
Corona sutilis, 632
Cottabos, 632, 634; stand, 2558?,
2559
COTYLE, 1272, I309-I3II, 1313, 1314
Couch, parts of, 2563-2567
Cow, 140, 141, 395, 1796- 1799, 3«95 ;
suckling calf, 323 ; head of, 2492
Cowl, 1511
Cowries, 975
Crab, 975, 1919, 1920, 3205
Crane, 146, 2296
Crassus, M., 897
Cretan goat, horns of, 656
Crook (?), 2274
Crow, 1899
INDEX.
;S3
CROWN, triumphal, 837 ; mural, 873 ; s
of the North and South, 1456, 1473-
1493, 1495, i5°°> lS°l, '3°3
CUCULLUS, 1521, 1522, 1678?
Cuirass, 2846-2851 ; of metal plates, 459,
622, 798?, 107 1 ?, 161 1 ; of chain mail,
462 ; of leather, 338
Cupid, 873, 884 ; and see Eros.
Cupping-vessel, 2313
Cuttle-fish, 884, 975
Cybele, 2521 ; and see 873
Cymatio* moulding, 303, 312
Cymbals, 829, 876
Cypriote fibulae, 57, 59, 60, 118, 1946-
1954, and p. lx ; helmet, 185 ; letter,
113
Dagger, 5-7, 9, 46, 55, 338?, 622, 2745-
2753 ; Cypriote type with hook, 50, 52,
3193
Dancers, 534, 540
Dasiatus Secundus, C, 3039
Dasimos, 317
Dead man, 1680
Death of Neoptolemos, 743 ; of Polyxena
(?)> 743 5 °f Troilos, 625
Death-goddess, 650
Deer, 119, 156, 362, 560, 861, 1784-1787,
2517, 2964, and see 743 ; of Apollo, 209,
996 ; hunt of, 868 ; head of, 663
Deinias, 329
Deiphobos, 729, 730
Deities, uncertain, 859, 862 ; Etruscan,
700 ; Oscan, 888 ; Delphic, 743 ; and
see Female Deity.
Deivai, 888
Dektnanniuis, 888
Delphi, 743
Demeter, 602, 698, 811, 976-981 ; head of (?),
984
Demetrianus, 3160
Dentiscalpium, 2394
Depilatory, 2394-2398
Derinoe, 285
Deus Lunus (?), 1016
Devices on Shields : Gorgoneion, 638,
7J5, 73°> 746 : floral pattern, 883 ; mask,
640 ; Satyric mask, 640 ; octopus (?),
623 ; star, 633, 638 ; snake, 636
Diadumenos, type of, 526 ; and see Poly-
cletios.
Diana, 873 ; dedication to, 898 ; and sec
Artemis.
Dicasts' Tickets, 329-332
DlOMEDES, horses of, 642, 671
Dione, 279
Dionysiac SCENE, 744 ; revel, 870, 871 ;
emblems, 824 ; heads, 2559
Dionysios, 333
Dionysos, 311, 312, 575»63o,732-734,736,
737,744,807,808,871, 1326-1354, 141 1 ?,
1423?, 1424-1428, 2249, 2472 ; mask of,
824
Dioscuri, 277, 629, 708-712, 1429,2480?;
helmets of (?), 876 ; inscription to, 3207 ;
and see Castor.
DlOTA, 1505
Diptychon, 633, 1027
Dirk (?), 337
DlRKE, see 1455
DlSCERNlCULUM, 632, and see Acus dis-
criminalis.
DlSKOBOLOS, 559, 595, 675
Diskos, 248, 502, 504, 559, 595, 675, 2691,
3-°7
DlSPATER, 788-791
Distaff (?), 2521
DlSTATER of Kyzikos, see 3000
Diumpais, 888
Diuvei, 888
Diver, 1674, 1675
Doe, 628, 745
Dog, 546, 560, 718, 864, 878, ion, 1483,
1779?, 1837-1850, 2469, 2481, 2503,
2508?, 2518, 2519, 2957, 2958; head of,
316, 2468?, 2532, 2566?, 2986 ; and see
Bitch, Greyhound, Kerberos, Mastiff,
Scylla.
Doll, 138
Dolphin, 121, 547, 595, 638, 640, 695, 720,
740,780,829,884,975, 1 1 58, 1574, 1575-
1577, 1922-1928, 2154, 2157, 2256, 2459,
2461, 2478, 2482, 2494, 2495, 2513, 2568,
2909, 3000, 3048
DOMITIA, 2228
Donkey, 1790, 2139?, 2470; head of, 745 ;
and see Ass.
DOORWAY (?), 871 ; and see Architecture.
Doric column, see Architecture.
DORVPHOROS, attitude of, 910, 1077 ; and see
Polycleitos.
Dove, 239, 241, 242, 279, 541, 552, 599, 626,
634, 705, 3209 ; and see Pigeon.
Dowels, 2583-2585
384
INDEX.
Drawers, 815 ; and see Anaxyrides and
Bracae.
Duck, 158-160, 884, 1888, 1889, 2470, 2475,
and see 352-358; on fibulae, 149, 150,
349, 35° ; w'tn head of bull or ox, 345,
347, 348, 35'
Duodecim script a, 3213
Dwarf, 1663, 1665, 1666
Eagle, 720, 737, 867, 1164, 1226, 1872-1880,
1881 ?, 2242, 2295, 2500, 2525, 2572,
2908 ; of Ztus, 726, 829, 873, 927, 929,
939, 955
Ear-pick, 2395, 2399, 2400
Earrings, Cypriote or Cretan type, 321 1 ;
Etruscan type, 626
Echtur, 625
Ectur, 715
Eel, 884, and see 973 ; head of (?), 2481
Eestint, 888
'Eyxpiofxfvos, 5H
Egnatius Sempronius, P., 3049
Egyptian bust, 63, 872 ; design, 186 ;
emblem, 1467 ; fashion of hair, 529, 558,
749, 853 ; goddess (?), 2265 ; head-dress,
872, 935, 1494, 1688, 2560, and see Atef,
Harpocrates, Isis, Klaft ; queen, 132,
1466 ?, 1467 ?, 2265 ?
Eileithyia, 188 ; and see 617
Ekask, 888
Eleans, 264
Elephant, 1788 ; head of, 1524, 2516, 254.4
'E\ev6ia, 188
Eln, 716
Emilenus Rufinus, C, 3040
Emperor, see 802, 831-841, 867, 887, 894,
907, 161 5
Empress, see 836, 842, 1468, 1470, 1527
Endromides, 244, 249, 303, 310, 337,487,
489, 509, 543. 576, 618, 633, 641, 695,
696, 717, 720, 726, 744-746, 801, 870,
883, 998-1003, 1009, 1022, 1032, 1 138,
1206, 1216, 1220, 1223, 1329, 1330, 1332,
1334-1337, 1389, 1443, 1444, 1523, 1562-
1570, 1572, 1573, 1576,3215
Entrai, 888
Eos, 480, 481, 618, 627, 695 ?, 707
Ephesian Artemis, ioio
Epichysis, 653, 654
Epidius Quadratus, C, 3335
Efiie, 626
'Enlarrjuov, 333
Epistates, 3216
Equestrian figure, 839, 1618, 2514; and
see Horseman.
Erato, 1028
Eris, 745
Eros, 241-244, 287-289, 29?, 303, 306, 308,
309, 3'3, 543, 544, 546, 638, 653?, 732,
735, 738, 744, 745, 796, 797, 829, 850?,
857, 1096, 1125-1175, 2256-2258, 2273,
2509, 2524?, 2965 ?, 3209 ; head or bust
of, 2470, 2535, 2563, 2564; types of,
1 1 77- 1 1 94 ; and see 1 344 and Cupid.
Erymanthian boar, 619
'Eaxapd, see Brazier.
Eteocles, 621
Ethaiesva, 617
Ethiopian type, 138, 1674, 1675
THdfjos, 2471, and see Colander.
Etruscan deities, group of, 700
Eudamos (?), 253
eugnomonios, 3158
EUPHORO, 2458
EUPLOIA, see Aphrodite.
EUkOPE personified (?), 973
eurybates, 883
eurystheus, 619
Euterpe (?), 632
Ez'/is, 625
Evklui, 888
Evrphia, 632
Evticle, 621
EXAMEN, 2981, 2985
EXOIDAS, 3207
Exomis, 591, 731, 1031-1033
Fan, 871
favciKCp, 253
Fasces (?), 1586
Faustina the elder, 1527?, 2279; junior
836
Felix Amullus Gemei.la, 3091
Female deity (unidentified), 193, 200,
492-4975 518, 607, 617, 625, 862, 1433-
1437, 1700?, 2254, 3206 ; and see
Deities.
Feronia, 897
Fibulae, 57, 59, 60, 1 18-129, I5°"I57, 347-
350, 1 929-2 1 32, 3204, 3205 ; and see
Brooch, Cypriote, Geometrical, and
p. lix
Figure-head, 830
Fiuusasiais, 88-!
INDEX.
385
Fire-engine, 2573, 2574 ; rake, 782
Fish, 545, 640, 884, 1921, 2155, 2156, 2298,
3087, 3204 ; ■ hooks, 38, 39, 237
Fisherman, 884, 1679
Flaminius, L., 3120
Flavius Olympicus, T., 3044 ; Dius, 31 11
Pompeianus, 3128 ; Scladonius, 3169
Flesh-scraper (?), 2420-2423 ; and see
Strigil.
Flutes, 468, 540, 560, 697, 857, 871, 2250;
and see 269
Fluusai, 888
Folding-stool, 714, 849
Foot-rule, 2679
Fortune, 1525-1543; symbols of, 873,
1 544-1 546
FOTIDIUS SUPERUS, L., 3157
Fountain, 723 ?, 741 ?, 743 ; jets from,
1922 ?, 2579-2582
Fox, 243
Frog, 587, 741, 875, 1902-1904, 2227
Fulcra, 2561
Fulnice, 621
Funeral games, 560 ; pyre, 638
Fury, 638, 1449
Futrei, 888
Gagilius Primitivus, Q., 3108
Gallianus Euprepes, 3050
Ganymede, 278?, 726, 826?, 954-956, 2524?
Garnets for eyes, 834
Gaudentius (?), 3034
Gaul, dying, 814, 815; prisoner, 818;
wounded, 817 ; female, 816?, 819 ; bust
of, 770; shield, 815, 817 ; and see Bar-
barian.
Gaulenius Aper, P., 3143
Gauntlet, 2733
Gavius Vitalis, C.j 31 14
Genetai, 888
GENIUS (?), 850 ; genii fulcri, 2561
Geometrical style, 1 19-178 ; type of fibula,
1 19-129, 150-157, 32°4, 32°5, and P-
xxxix.
Germanicus, 867
Giant, 291
Gigantomachia, see 303
Gladiator, 1601-1605, 2966 ; helmet of,
2482, 2483
Globe, 1550, 1551, 1558, 1741
Goat, 42, 161-166, 233, 234, 407?, 806?,
824, 1827-1829, 2293; winged, 364;
head of, 745, 824, 2491
Goose, 308, 688, 695, 1162, 1887
Gorgon, 249, 487-489, 554, 576, 583; and
see Medusa.
GORGONEION, 191, 245, 265, 298, 314, 329,
332, 442, 488, 544, 574, 618, 619, 623,
627, 636, 638, 715, 730, 731, 745, 746,
798, 830, 1034, 1035, 1040, 1042, IO45,
1047, 1049-1054, IO58-I060, I062, I063,
ig68, 1 07 1, 1729-1736, 1760, 2244, 2478,
2496, 2497, 2501, 25 1 1, 2544, 2605, 2700,
2993 ; and see 620
Granius, C. Abinneus, 3037 ; Hera, C,
3070
Grasshopper, 640, 695
Greaves, 74, 249, 265, 798, 2731, 2732,
2859-2863
Greek warrior, 285, 296
Greyhound, 1848, 1849, 2955 ; head of,
316, 949
Gridiron (?), 783
Grotesque figure, 216, 507, 820, 1664,
1667-1673, 2385 ; head of, 2523, 2529,
2531
Gryllus, 2286
Gryphon, 391, 392, 433, 600, 745, 746, 781,
798, 859, 1439, 1713, 1748-175°, 2996;
head of, 2960
GUARD for arm, 1605, 2864-2868
Gymnasts, 508
Hades (?), 560
Hadrian, 907
Hafrenies, 651
Hair, Egyptian fashions of, 186, and see
Egyptian ; Imperial fashions of, 843,
844, 1101 ; lock of, as emblem of youth,
1493, 1494, I5°2, 1503, I5°5
Halae, deme of, 329
Halna, 618
Hammer, 102, 638?, 829, 873, 2977; and
see 788-791
Uamp/iiare, 622
Hand, symbolic or votive, 874-876, 3216
Harbour, 884
Hare, 178, 243, 741, 2524, 2955 ; votive,
237 ; head of, 316
Haretiies, 655
Harpago, 784
Harpe, 620
Harpocrates, 1473-1508, 2260
Harpy (?), 650
Hawk, 1488, 1489, 1500
2 C -
;86
INDEX.
Headstall, 357, 358
Hebe (?), 957
Hecate, 1011-1014; torch of, 829
Hecaton, 885
Hector, 625, 715
Hecuba (?), 1598
Hedone, 897
Helen, 626, 627, 640?, 700?, 712, 722?
Helenos(?), 716
Helios, 695, 700, 1015, 2253
Helmet, Cypriote, 185 ; Etruscan, 638,
2717-2730 ; Greek, 250, 251, 317, 2816-
2844; Italian, 1454; votive, 250, 251,
317 ; with horns, 337 ; inform of Satyric
mask, 746 ; and see Corinthian and
Phrygian.
Hephaestion, 237
Hephaestos, 745 ?, 1031-1033 ; hammer of,
829, 873 (see Vulcan).
Hepilius(P), 958
Hera, 252, 696?, 745 ; bust of, 938 ; and
see 95 1-953
Heracles, 212?, 463-466, 530?, 532?, 601,
605, 654, 787, 827, 910?, 1242-1325,
1685?, 2499 ?, 3214, 3215 ? ; youthful, 618,
627, 1243, 1245-1290, 1325, 3215 ? ; head
of, 705, 1320-1325, 2997 ; with Nemea,
293 ; strangling snakes, 747, 1243 ; with
Nemean lion, 650, 672 ; with Keryneian
stag, 467, 1 317 ; with Hydra, 544, 563,
3205 ; with Acheloos, 606 ; with horses
of Diomede, 642, 671 ; with Amazon,
305 ; with Auge, 560 ; with Iole, 587 ;
with Malache, 542 ; with Alcestis, 588 ;
with Erymanthian boar, 619 ; in
Olympos, 704 ; disarmed by Erotes,
857 ; Bibax, 87 r, 1 270-1272, 1309-1314 ;
Mingens, 1306-1308 ; shooting Stym-
phalian birds (?), 1316; club of, 829, 873,
2909 ; and see Hercules.
Heraeans, 264
Hercules, 560 ; and see 873
Herdsman, 1678
Hereklui, 888
Herennius Alexander, M., 3080
Hermes, 641, 700, 737, 744, 745 ?, 8or-8o6,
825, 1195-1241, 2231, 2252 ; head of,
283 ; leg of, 855 ; making lyres, 856 ;
Criophoros, type of, 214, 555 ; with
Alcestis, 588 ; seizing Nymph, 294 ;
at birth of Cabeiri, 618 ; with Perseus,
620
ILkrmionk, 743
Hero arming, 719
Heroic figure, 286
Hesperides, tree of, 827
Hiero, helmet dedicated by, 250
Hinge from door of tomb, 3197
Hinthial, 626
Hippocamp, 385, 387, 388, 624, 638, 639,
640, 648, 728, 2158, 2243
Hippopotamus, 1789
HlRRIUS VlCASIANUS, C, 3147
Homer, head of (?), 847
Horse, 119-121, 176, 320, 359, 360,419-428,
637, 1 791 — 1 795 ; of Troilos, 625 ; s
of Diomede, 642, 671 ; forepart of, 389,
588 ; head of, 390, 960, 2763-276% 2961 ;
muzzle of, 2877-2879 ; brooch in form of,
2 1 36-2 1 38 ; lock in form of, 2599
HORSEMAN, 342, 382, 558, 559, 561, 744,
1616-1618, 2129, 3210 ; and see Eques-
trian figure.
HORUS, 875?, 1462, 1500
HOSTILIUS SlLVINUS, C, 3100
Hound, see Dog.
Human LEGS for feet of candelabrum, 779
HUNTER, 868 ; and see Boar-hunt.
Hunting-knife, 789, 868
Hurtin, 888
Husmana, 618
Hydra, 544, 563, 3205
Hygieia, 1431, 1432
Hyperion (?), 707
Hypnos, 1 185 ? ; head of, 267
Hypocnemidian Locri, 262
Ibex, 434 ; head of, 2476, 2893
Icaros, 145 1, 1452
Iconic head, see Portrait-head.
I los, 726
Imperial personages, 1494?, 1527?; see
Emperor and Empress.
Incense-burner, 298
infibulated phallos, 526
Inkstand, 2680
Instrument of colonisation, 262
Io, head of, 1441
lOANNES, 2992
IOLAOS, 563, 3205 ?
IOLE, 587
Ionic COLUMN, 247 ; and see Architecture.
Iphicles, 747
ISIS, 1456—1472, 2261 ; and see 873, 875
Isminf/iians, 618
Ithaca, coin of, 3019
INDEX.
337
Januarius, C. Publius, 3084
Jerboa ?, 1856
Jerkin of leather, 179?, 287, 337, 789, 790,
1629-1631, 1633-1636, 1639
Jet of fountain, 2579-2582
Jointed doll, 138 ; skeleton, 1682
Judgment of Paris (?), 745
Julius, G., 886 ; L. Chrysippus, 31 10
Jumping-weights, 248, 668
JUNO Sospita, 673 ; Regina (?), 693 ; inscrip-
tion to, 899 ; and see 696, 873, and
Hera.
Jupiter, see 873 ; Penninus, 895 ; and see
Zeus.
Justus (?), 31 12
Kavovv, 20I, 202
KapSiofpvXut;, 2268, 2845
Kasutru, 629
KciTcnrvt;, 1 6 1 4, 1 6 1 5 4
Kelon, 256
Kephalos, 480, 48:, 707
Ke'pa?, 287, 512
Kerberos, 948-950
Kerri, 888
Keryneian stag, 467, 13 1 7
Kf(TTO(f)6pOS, 1 1 IO
Keys, 2606-2668 ; and see p. lxv.
Khepesh, 186
Kidaris, 713, 1 596-1 598, and see Phrygian
costume.
King (Egyptian), 186
Kistophoros, 284
Kithara, see Lyre.
Klaft, 1494
Kneeling youth, 610
Knife, 7, 9-18, 43, 47, 56, 68-71, 79, 80, 82-
86, 89-92, 95-98, 2330, 2331, 2755-2766,
2951-2953, 2955-2974, 3199, 3200;
hunting, 789, 868 ; sacrificial, 290, 823
Knuckle- bone, figure in form of, 1669 ;
weight in form of, 3018
KoX-rros, 625, 714
Kon-tf, 10 ?, 47, 592
KoTTaj3l(a>v, 632, 634
Kpeaypa, 784
Kpa>/3uAoy, 5 1 4
Kreis (?), 829
Kvpiudis, 267
KvpiaKos, 2986
Kyme, 250
Kyxlscos, 252
Lacerna, 1522
Ladle, 2466
Laenius, Q., 889
Lamb, 2495
Lamia (?), 2278
Lamp, 65, 316, 2513-2542
Aaprrddiov, 731
Lamptrae, Upper, 332
Landing-net, 884
Lantern, 742, 3204
Laran, 618, 696
Lares, Compitales, 870, 1568-1577; Fami-
liares, 1 562-1 567 ; inscription to, 906;
and see 278
Larisal, 651, 655
Larth, 652, 653
Lasa, 622, 623, 638, 695 ?, 699, 701, 702
Latins, see 741
Laver, 723, 743
Leather jerkin, see Jerkin.
Lebes, 186, 257, 382, 384, 558-561
Leo, 3135
Leontius, 3076
Leopard, 1774, 1775
Lepidus, C, 3137
Lesbian cymation, 303, 312
Leto, 743
Libation, 780
Libra, 2991
llbrarius arcarii (?), 3 i 74
Liganakdikei, 888
AlKVOV, J 2)6
Lion, 120, 139, 260, 361-363, 365, 366, 434,
453, 493, 549, 557, 581, 582, 598, 742.
744-746,871, 1751-1766,2291,2292,2513,
2521, 2956, 3006, 3204? ; brooches in form
of, 21 3 1, 2132; winged, 393; with human
leg in mouth, 600, 2305 ; head of, 664,
2135 ; do., forming spout, 723, 743; skin
of, forming saddle-cloth, 3210; and see
Nemean lion.
Lioness, 232, 664, 744, 746, 2473, 2571
LlTUUS (?), 1585 ; and see Trumpet.
Lizard, 874, 875, 1914-1916, 2495
Lobster's claws, 971
Locks, 1348, 2586-2605 ; and see p. lxv.
Locrians, 262
Locust (votive), 236
Loin-cloth, 186, 565, 1625
Longene, 319
Lophios, 261
Lucilius Festus. L., 3082
Lunar disc, 1457-1459
2 C 2
388
INDEX.
LYBIAN type of head, 268
Lyre, 203, 244, 630, 632, 633, 719, 732, 856,
873, 876, 2299
Lysias, 886
Lysippos, school of, 268 ; style of, 283, 286 ;
and see 285, 825, 910, 1621
Lysistratos, see 268
Maatuis, 888
Mace-head, 2892
Macunius Saturninus, T., 3061
Maenad, 295, 540, 578, 590, 631, 638, 745,
771, 870, 871, 2481 ; head or bust cf,
300, 756-758, 1413-1421, 2489, 2495,
2498 ; and see Nymph.
Malache, 542
Malafisch, 626
marciana, 997
Mardochios, 2990
Marine deity, 958-975. 2482, and see
Nereus, Poseidon, Triton, etc. ;
monster, 973, 974, 2483, and see Hippo-
camp and Pistrix ; , head of,
644
Maris, 618
Maristiusta, 696
MARS (Etruscan), 451-457, 618?, 696?;
Roman, 798, 873 ; and see Ares, and
Warrior.
Marsyas, 269, 468, and see 1388, 3062
Mask of Apollo, 273 ; of Hera, 953 ; of
Juno Sospita, 673 ; of sea-deity, 974,
2482, 2970 ; of Zeus Amnion, 937 ; of
Satyr, 295, 479, 575, 640, 651, 652, 746,
1622, 1657-1659, 2474, 2475, 25o5, 2506;
comic, 742, 1030, 1626-1631, 1633-1635,
1653-1657, 1857,2288, 2514 ; tragic, 1029,
1641-1649, 165 1, 1660-1662, 2287; for
corpse, 877 ; and see 444, 656, 694, 1 165,
1650, 1652, 2530
Massa, 900
Mastiff, head of, 948, 949
Measuring-cord, 248
Medusa, 486, 583 ; mask of, 754 ; head of,
620 ; marine, (?) 974, and see Gorgon
and Gorgoneion.
Meilanion (?), 745
Meleager (?), 1453
Melerpanta, 695
Melpomene, 1029
Mendii \\ 1 priest, 852
Menelaos, 627, 640?, 700?, 712, 714, 716?,
743 ?, 746
Menerfa, 544, 617, 620
Menle, 627, 714
Menrfa, 618, 696, 704, 713 ?
Men-thu-RA, 186
MERCURY, 873, and see Hermes.
Me ties, 652, 653
MlCARE DIGITIS, 826
Mina, 2990, 3013
Mirror, 240-244, 291, 299, 303, 541-546,
617-635, 695-725, 880, 3213 ; of Aphro-
dite, 829, 873, 1 1 13 ; stands and handles,
224, 238-243, 245, 246, 547-553, 739,
740, 3209 ; cases, 287-302, 636, 726-
738, 3210, 32 1 1
Mithras, 904, 1017, 1018
Mlacuch, 542
Model of chariot, 106, 2695 ; of helmet,
2843 ; of axe, 2975, 2976, 2978 ; of
hammer, 2977
Modius, 772, 1525, 1531, 1534, 1537-1539,
1542, 1547, 2261, 2264 ; and see Calathos
and Polos.
Monkey, see Ape.
Monster, 1747,2161, 2413, 2569; and see
Marine monster, etc.
Months, 813
Monument, see Architecture.
Moon, 626 ; and see Selene.
Morra, 826
Mouse, 546 ?, 185 8-1 871, 2969
Mule, 745 ; head of, 783, 2507, 2561,2562
Munatius Clemens, Q., 3064
Munthuch, 626
Mural crown, 873
Muse, 732, 1027-1030
Mussel-shell, see Shell.
Muzzle of horse, 2877-2879
Myrmidons, 638
Mysacheis, 262
Mystae, 887
Naevius Cerialis, 2463
Naiad, 972
Nail-cutter, 2394; ■ file, 2399-2402;
s from tomb, 66 ; of Fate (?),
623 ; magic, 3191-3194, and see 2605 ;
heads of, 41
Nasal of helmet, 281 8-2821, 2823, 2825-
2838
Naupactos, inscription of, 262
INDEX.
,89
Needle, 2378-2381
Negro, 1674-1677, 2531?
Nemea, 293
Nemean Lion, 650, 672
Neoptolemos, 743? ; death of, 743
Neptune, 873 ; and see Poseidon.
Neratius Quadratus, Q., 3092
Nereid, with armour of Achilles, 624, 638,
639, 640
Nereus, 973
Nero, bust of, 831 ; Drusus, bust of,
2870
Net, 884
Nicolaos, 2999
NlCOSTRATOS, 3150
Night-hawk, 267
Nike, 290, 297, 623, 744, 1728, 2247 ; and
see Victory.
Nile, 872
Nodus Isiacus, 1457, 1458, 1460, 1461,
1463, 1466, 1467, 1469
Nonius Terminalis, 3047
Nymph, 288, 294, 737
Nymphia, 3032
Nysa, 737
Obelisk, 865
Ocean, 545,973?
OCHANON, 452, 603, 715, 716
Octopus, 623?, 640, 884, 2478
Odysseus, 714, 724?, 731, 1442?, 1443-
1446 ; head of, 3019 ; companions of,
882
Oeantheia, 263
"OyKos, 164I-1646, 1648, 1660, 1662
OlNOMAOS, 695 (for Oineus)
Olla, 788, 789
Olympian Zeus, see Zeus.
Olympos, 704
Onatas, type derived from (?), 555
Onomastos, 257
Opuntii, 262
Orator, 1583
Oreithyia, 310
Orestes, 743, 1450
"Opyvia, 248
Orion, 545
OSCAN inscription, 888
OSCILLUM, 675, 1425-1428, 2493
Ostrich feathers, 1494, 1540
Otacilia, 887
Otho, bust of, 833
Owl, 329, 331-333, 640, 695, 1884, 2875,
2998 ; of Athena, 619, 623, 638, 873
Ox, 180, 182, 346; oxen of Cacus, 560;
ox-skull, 640, 702, 731, 871, 881
Paenula, 1637
Palamedes, 714
Palladion, 627
Paludamentum, 839
Pan, 340, 470, 656, 1351 ?, 1352?, i355-!36o,
2476, 2498, 2524?, 2528; ■ 's pipes,
1 137 ; and see Syrinx.
panegyris, 3043
Panniers, 1790
Panphilos, 3087
Panrpa,Q), 713
Pantheistic emblems, 829, 873-876
Panther, 560, 733~735, 745, 772, 777~7^,
1769-1773, 2133, 2134, 2964
PAPIUS FELIX, C, 3126
Paramythia bronzes, p. xiv, and 272-281,
1446
Paris, 640?, 713, 722?, 729, 730, 745?, 746,
1450?, 1596?
Parrot, 2493
Parthenius, 900
Patanai, 888
Patera', 888
Paternus, 901
Patroclos, 883 ; pyre of, 638
Pausanias, 334
Peacock, 304 ?, 873
Pedum, 633, 653?, 726, 824, 860, 869, 1133,
1356, 1357, 1360, 1373, 1384, i39°, 1392,
2477, 2559, 2965
Pegasos, 640, 695, 1049, 1737, 1738, 2290,
3209
Peleus, 667, 744, 746, 748
Pelta, 706, 746 ; see 2824, 3047, 3065, 3094,
3110, 3158
Il€p.nd)(BoXov, 784
Penelope, 731
llfVTf Xidoi, 289
Penthesileia, 285 ?, 741, 746
Percothariae, 262
Pernai, 888
Persephone, 560?, 698, 744, 982, 983
Perseus, 620, 1230?
Persian (?), 1597
Perspective, false, 244, 749
Petronius Glycon, P., 3057 ; L., 3041 ;
Liberalis, C, 3125
39Q
INDEX.
Phaedra, 289
Phalerae, 2870-2876
PHALERON, deme of, 330
Phallic emblem, 876 ; form of diota, 1505
Phaon, 632
Phaun, 632
Phcrse, 620
Philip, 887
Philoctetes (?), 215
Philon, 886
Philosopher, 848, 849
<J>tjuos av\a>Tos, 2877-2879
Phoenician bowl, 186 ; figure, 204
Phrygian, 1595— 1599 ; cap, 287, 296, 560,
706, 708, 713, 714, 717, 722, 744, 767,
867, 873, 955, 1016-1018, 1020-1025,
1707, 2698, 2839, 2965, and see Kidaris ;
costume, 287, 744, 1020-1022 ; helmet,
640, 746, 1439 ? ; flutes, 875, 876
Phulphsna, 627
Phuphhins, 630
Pig, 858, 1782, 1783, 3017
Pigeon, 238, 640, 778, 1895, 2141-2148,
2150, 215 1 ; and see Dove.
Piihiui, 888
Piistiai, 888
PlLEUS, 2717-2720, 2824, 3019
Pin, 2383-2393
H'lVa^ TTTVKTOS, 695
Pincers, 876, 2419, and see Tweezers.
Pindar, head of (?), 847
Pinna, 1673-1675
Pistrix, 638, 639
Pithos of Eurystheus, 619
Plate of armour, 36
Plectrum, 632, 633, 719, 1028
Ploughing-scenes, 180, 182, 345, 346
Ploughshare, 103, 104
Pluto, head of, 947, and see Hades.
POENINUS, 895
Poet, head of, 847
POLLEDRARA BRONZES, pp. XV, xlvi ff.
pollentius, 3074, 3126
Polos, 210, 448, 558, 887, 939-946, 986?,
1010, 1011, 1398 ; and see Calathos and
Modius.
POLYCLEITOS, SCe 526, 825, 910, IO77, 1217,
1687
POLYDEUKES, 629
POLYNEIKES, 62 I
Polyphemos, 1447, 1448 ; and see 1444-
1446
POLYXENA, 627 ; death of (?). 743
Pomegranate, 198, 549, 862, 982, 1245 ?,
1260 ; vase in form of, 315
Pomona, 15 13
Pompeius Liberalis, P., 3036 ; Maximus,
Sext., 904 ; Severus, Q., 3071 ; Isidorus,
c, 3139
POMPONIUS, T., 3069
PORPAX, 452, 603, 715, 716
PORTRAIT-HEAD, 268, 847-850, 169I, 1692,
1708, 1709, 172 1 ?, 2281 ; figure, 851;
and see Emperor, Empress, and Imperial
Personages.
Poseidon, 274?, 696?, 958-963
Praefectus, 889
Praepositus sacri cubiculi, 900
Praetorian cohort, 901
Praxiteles, imitations of, 266, 267, 954,
1015, 1084
Priapus, 737
Priest, 689-691 ?, 852 ; of Sol, 904
Priestess, 692?, 693?, 1588?, 1589, 1590,
1591 ?, 1 592-1 594
Primitive female figure, 440, 441
Primitivus, 3 121
Primus, Q. F., 3156 ; and see 3167
Priscus Annianus, L. N., 3159
Prisoner, 818, 1599, 1600
Probe, 2318, 2319
Proculus, Pollentius P., 3074 ; O. P.,
3034
Proembolion, 830
Prometheus, 745
Providentia (?), 986
Prow of ship, 830, 961
Proxenia, 333, 334
Pruning-hook, 813
pseliumene (?), i084, i085
Psyche, 309, 313, 1 176
Psydreus, month of, 333
Pulutitice, 629
Pump, 2573, 2574
Pupt'llrt, 725
Purasiai, 888
Purse, 801-806, 825, 1159?, 1185 ?, 1195-
1197, 1201-1206, 1213, 1216, 1219, 1221,
1224, 1830
Pus, 888
Putercipid, 888
Pylades, 743
Pyramids, see Architecture.
Pyre, 638
PyrrhiaSj 318
INDEX.
391
Quadriga, 618, 627, 695, 700, 741, 3068
Queen (Egyptian), 132, 2265 ?
Quincunx, 2609
quinquennalis, 904
Quiver, 293, 337, 542, 544, 560, 829, 857,
873, 988-991, 995, 998, 999, 1 001-1003,
1 125, 1 135, 1 182, 1247, 1265 ?, 1483,
1488, 1 490- 1 492
Rabbit, 15 17, 1852-1855, 2140, 2294
Raft (?), 627
Ram, 143, 172, 399-4o6, 560, 570, 581, 582,
1 121, 1 831-1833, 2473 ; of Polyphemos,
1445, 1446 ; head of, 170, 493, 564, 566,
568, 570, 578-580, 582, 653, 798, 875,
882, 1049, 1059, 1358, 1834-1836, 2572,
2695, 2962, 2972; in Hermes Criophoros
type, 2T4, 555 ; of ship (?), 491
Rat, 1857
Raven, 1882, 1883
RAZOR, 2420-2423 ; and see p. lxv.
Reclining figures, 203, 221, 468, 469, 562,
609
Regaturei, 888
Remus, 872, 1581, 1582
Resef-mikal (?), 185
Retractor, 2318, 2319
Return of Persephone, 698, 744
Rhoecos, p. xl.
Rhvton in form of winged monster, 870,
156S-1577
RINGS with engraved designs, 130, 2245-
2312, 3183-3190 ; and see p. lxiii.
River-god, 635, 968-970, 1423?; and see
Acheloos and Nile.
Roe, 623
ROMAN circus, 865 ; lady, bust of, 843, 844,
1704, 1705 ; official, 1585-1587; orator,
1583
Romanius, M., 3 17 i
Rome, bust of, 830
Romulus, 872, 1581, 1582
Runner (?), 265
Rustia Iucundia, 3078
Rustic car, 602 ; figure, 745
Saahtum, 888
Sabazios, 874, 3216
Sabinus, C, 3031
Sacratus, M., 3086
SACRIFICE of bull, 290, 720 ; of Trojan cap-
tives, 638 ; of pig, 858 ; and see 1584,
1585
Sacrificial knife, 290, 823, 904
Saddle-cloth, 839, 3205, 3208, 3210
Sakahiter, 888
Sakarater, 888
Sandal of Aphrodite, see 280, 282, 449, 829
1080-1083 ; winged. 855, 856
Sappho (?), 203
Satyr, 214, 218?, 260, 469, 471-475, 54o,
572, 578, 587, 590, 631, 632, 643?, 810,
871, 1368-1380, 1398, 1405-1410, 24S6,
2495, 2504, 2513; head of, 476-478, 756-
758, 2244 ; youthful, 587, 630, 633, 638,
697, 723, 744, 745, 752, 771, 870, 1381-
1397,1399-1404, Hi 1 ?, 1412,1413.2477,
2481, 2524?, 2561, 2696; mask of, see
Mask.
Satyric actor, 1639 ; mask, see sub voce.
Saucepan, 2461-2465
SctVpCOTTJp, 623
Savinius (?), 3056
Saw, 2328
Scales, 875, 2981-2985
Scallop-shell, see Shell.
scarabaeus, 3208
Scarifier, 2327
Scimitar, 186
Scopas minor, 1244
Scorpion, 1917, 191 8, 3204
Scourge, 2694
Scroll, 622
Scutum, 1604
SCYLLA, 695, 882, 974 ?, 975 ?, 2481
Sea-deity, see Marine Deity.
Seal-boxes, 2225-2242, and see p. bcii.
Sea-monster, see Marine Monster.
Sea-urchin (?), 884
Seaweed, 875 ?, 965-967 ; on face, 964, 973,
974, 2482
Secespita, 904
Seilenos, 284, 608, 634, 643?, 719, 736, 773,
809, 871, 1361-1367, 1422, 2250-2252,
2526, 2527; head of, 2484; mask of,
2488, 2489 ; actor as, 1 636-1 638
SEIUS Salvius, M., 31 15
Selene, 2520
Sella, 2561, and see 2562-2570
Semele, 630, 697
Semla, 630
Septimius Severus, bust of, 838 ; see 3162 ;
Phoebus, P., 3075
392
INDEX.
Serapis, 276, 887, 935, 937-946, 2261, 2263,
2264
Serpent in garden of Hesperides, 827 ;
strangled by Heracles, 747, 1243 ; held
by Heracles, 1255 ?, 1262, 1264, 1265 ; by
Athene, 1055 ; by Hygieia, 1431, 1432 ;
by Asclepios, 1242, 1430; by Isis, 1456,
1457; bearded, 781, 1449; fore-part of,
554 ; bracelet in form of, 634, 636, 697 ;
and see 249, 600 ?, 664, 754, 776, 874-
876, 1 180, 1907-1913, 2490, 2495, 2550,
2553, 3162
Sheath of sword, 867, 2710, 2742 ; model
of, 429, 430; as guard for arm, 1605,
2864-2866
Sheep, 806?, 860, 1830 ; head of, 2476
Shell, 972, 975, 1127-1129, 2541, 2542;
conch, 2244 ; mussel, 1089, 1 1 16 ; scallop,
877, III5, 2537
Shenti, 186
Shield, 600?; Etruscan, 2704-2706; Gaulish,
815, 817 ; boss of, 2899-2906
Ship, 121, 491 ?, 2301, 3061, 3088, 3204
Shoes, 2869 ; and see 3043, 3100, 3104,
3122, 3130, 3142, 3146, 3153, 3156, 3160,
3169, 3179, 3182
Shovels, 107-m, 386?, 1227
Shrimp, 975
Sickle (?), 519
Silvanus, 1523
Sime, 630
SlMPULUM, 663
Sipna, 698
Siren, 145, 229-231, 243, 246, 490, 554, 557,
558, 647, 747, 750, 753, 1 733-1743
SlRIS BRONZES, 285
SlRIUS (?), 904
SlSTRUM, 872, 873, 876, 1458, 1464, 1465
SlTULA, 186, 214, 292, 467, 650-652, 870,
871 ?, 1457, 1461, 1463, 1467, 1468 ; and
see Bucket.
Skeleton, 1681, 1682
Slave, 1634 ; badge of, 902 ; head of, 869 ;
mask of (?), 1656
Sleep, see Hypnos and Somnus.
Snaffle, 2880-2891
Snail-shell, 2541
Snake, see Serpent.
Socci, 742, 1626, 1628-1630, 1633, 1635,
1636
Sooenes, 321
SOKYDES, 3208
Sol, bust of, 904 ; and see Helios.
Solar disc, 1461, 1463, 1469, 1470, 1502
SOMNUS, 1509 ; and see Hypnos.
Sophocles, head of (?), 847
Soter, 323
Sowing, 1522
Spaniel, 640
Spatula, 2342-2368, 2370
Spear-heads, 19-29, 51, 53, 54, 73, 78, 81,
87, 88, 93, 94, 2711-2716, 2769-2796;
butt-end of spear, 77 ?, 2767, 2768, 3202 ;
and see 623 and 2cwpcoTi]p.
Sirelpa Tpi^wv, 165 3
SPES, 1547 ; attitude of, 188, 192, 193, 195,
197, 198, 200, 238-242, 494, 498, 548,
549, 558, 660, 772, 3209
^Cprjvonuiycov, 1639, 1 85 7
Sphinx, 191, 225-228, 366, 434, 548, 600, 637,
640, 656, 749, 784, 798, 856, 1035, 1049,
105 1, 1059, 1500, 1744-1746, 2704,
2832
2(pvprjXarov, 434, and p. xxx.
Spina of circus, 865
Sponge, 1676
Spoon, 2314, 2315, 2457-2460
SPOUT formed by mask with open mouth,
652, 2484, 2488, 2489, 2514
Spring, 1520
Stag, 142 ; and see Deer.
Stait, 888
Stamp, 328, 905, 3031-3182
Stand with figures in panels, 63 ; see 76
and Mirror.
Standard, Roman, 867 ; , top of,
2907-2910; measure (?), 907
Statif, 888
Status, 888
Steelyard, 2979, 2980, 2986-2996
Steering with foot, 3204 ; • oar, 829,
873, 1081, 1456, 1525-1527, 1529-1532,
1540, 1542-1544, 3204
Stele, see Architecture.
Stephane, fragments of, 187
Stertinius, Sex., 3096
Stesagoras (?), 2992
Stheneboea, 640
Stiletto, 429, 430
Stool, 289,626, 627, 634,666, 722, 724, 883 ;
and see Folding-Stool.
Stop-cock, 2575-2578
Straton, 333
Strigil, 254-256, 320-323, 325, 326, 640,
665, 742, 755, 864-866, 875?, 1269,
2424-2455
INDEX.
393
Stylus, 37 ?, 1027, 2374 ?, 2375, 2376 ?, 26S1-
2685 ?, 2686, 2687, 2690 ?
SUBUCULA, 1639
SULLAGE-PIECES, I 85
Sulpicius Anermnus, L., 3165
Surgical Instruments, 2313-2382, 2681-
2685 ?, 2688-2690 ? ; and see p. lxiv.
Sathina, 618, 625, 651-653, 655, 657, 722,
780
Swan, 119, 289, 551, 626, 878, 11 20, 1163,
2297, 2477
Sword, 1-4, 72, 867, 2707-2710, 2735-2744,
2754
Symbolic hand, 874-876, 3216
Symmachos, 325
Syracusans, 250
Syrinx, 470, 810, 829, 1356, 1357, 1360,
1384, 2258, 2476, 2559
Table, 875
Tabula lusoria, 3213
TAGES(r),626
Talaria, 588 ; and see Endromides.
Talmithe, 714
Talos, 629
Talthybios, 883
Tambourine, 186, 295, 829, 875, 1364?
Tefurum, 888
Teh's, 719
Tellus, 812
Tenaculum, 2322-2326
Terentius Cinnamus, A., 3175
Term of Heracles, 1291, 13 18, 13 19 ; of
Hermes, 1232 ; of Dionysos, 1346, 1347 ;
of Priapus, 737 ; of Satyr, 1397— 1399
Tettix, 120; and see 1961
Teuthras, 628
Tha/ana, 698
Thaleia, 1030
Thalna, 696
Thanatos, 588
Thanr, 617, 698
Theodoros, p. xl.
Thersites, 746
Theseus, 706
The this, 627
Thetis, 627, 667, 719 ?, 728
Thucydides, 332
Thumb, 2499
Thunderbolt, 617, 697, 786, 873, 876, 909,
911-917, 919-923, 925-928, 930, IOIO.
2519
Thyrsos, 295, 306, 312, 630?, 631, 632,
732-734, 744, 870, 871, 1327, 1333
Tiberius, 867
Ticket, 336 ; and see Dicast's.
Tiger, 1767 ; head of, 1768, 2471, 2502
Tinia, 617, 696
Toad, 1900, 1901
Toga, 1583-1585, 1587
togatenses, 904
TOILET of Helen, 626, 722 ? ; of others, 721,
722 ; , instruments of, 2394-2419
Tongs, 112, 873
Tooth-pick, 2394
Torc, 704, 731, 761, 769, 819, 825, 863,
1 105, 1 162
Torch, 291, 695, 744, 829, 873, 875, 876,
ion, 1 133 ?, 1176
Torpedo, 884
Tortoise, 567, 580, 589, 598, 806, 874-876,
1219, 1905, 1906, 2699 ; head of, 2162
Toy, 878, 879
Trainer, 560
Treaty, 264 ; of reprisals, 263
Trebius Clemens, Q., 3124
Trebonius Cerialis, C, 3048
TpUlKUTlOl, 326
Trident, 873, 1605
Tripod, 382, 587, 588, 875, 2497, 2560;
stand of, 61, 62, 435 ; and see p. xlviii.
Triton, 485, 576, 964-967, 2244
Triumphal crown, 837
Troezenian woman (?), 289
Troilos, 625
Trojan captives, 638 ; woman (?), 708
Trophy, 1548, 1550, 161 3
Truile, 625
Trulla, see Saucepan.
Trumpet, 1858, 2734 ; er, 223
Tumulus, 875
Tar an, 618, 626, 627, 629, 634, 704
Turms, 618, 620, 700
TURNUS, see 741
TURRANIUS SUAVIS, Q., 2457
Tutulus, 539, 54i, 588, 599
Tweezers, 58, 117, 2395, 2403-2418; and
see Depilatory.
Typhon, 482, 644?
Tyrrhenians, 250
Unciae, 3025-3030
Unguents, cista for, 641
IJni, 696
2 D
.94
INDEX.
Upper Lamptrae, 332
Upr/um, joy
Uraeus, 147, H6 1, 1463, i47o, 1 47 1, H74.
1482, 1483, 1494, 1503, 3208
Us//, 707
Uthste, 714
Vagina, 2981, 2985
Valagius Nimaurus, T., 3059
Valerius Minander, Q., 899
V ANNUS, 736
Vanth, 625
Vascellum, 3031
Vecilius Tertius, 2997
Venus, accronpie, 1108, and see 723; dei
Medici, attitude of, 448 ; Libitina, 618 ;
Fudica, see Cnidian Aphrodite ; mirror
of, 873 ; and see Aphrodite and Turan.
Vcrchas/iti, 888
Veronius Apelles, Sex., 898
Vertumnus, 15 10-15 12
Verus, L., bust of, 835
Vespasian, 2229
Veturianus Gratilianus, 3106
Vezkei, 888
Vibenna, 633
Vibius Ahius, 3172
VlBRIRRIUS, M., 3127
Victor, 3045. 3051
Victory, 491, 640, 657, 661, 707?, 740, 784,
867, 873, 1 1 22?, 1 548-1 561 ; and see
Nike.
V /pi nas, 633
VlRILLIUS, Q., 3103
VlSOR, 2842, 2843, 2966 ; perforated, 1602,
1604
VlVENTIUS, 902
Votive tablet, 261 ; ticket, 894; leg, 891 ;
hand, 874-876, 3216 ; hare, 237 ; helmet,
250, 251 ; axe-head, 252
Vulcan, 873 ; and see Hephaestos and
H ammer.
Vulsella, 2316, 2317
Vulture, head of, 1467
Vulva, 15 10
Warrior, 338, 444-446, 451-462, 592,637,
674, 716-718, 741,821, 1606-1615, 2267-
2269, 3003, 3205 ; and see Greek.
Water-bird, 127, 383
Wattle, 810
WEDDING of Dionysos and Ariadne, 31 1
Weights, jumping, 248 ; head tf Claudius
as, 832; head of boy, 1179; head of
Hermes, 1228 ; see also 139?, 936, 938,
1060, 1067, 1 179, 1623, 1710-1716, 2997-
3030, 3196 ; attached to dress, 542, 620,
1587
Western Asia, foes from, 186
Wheel, 105, 253, 377, 378; winged, 136;
and see 158-160, 162, 164, 168-171, 174,
175
Whelk (?), 2542
Whip, 869?, 875, 876, 1013, 3205
Wig, 1629, 1634, 1635 ; and seewOyKo?.
Window, 63, 710
Wine-skin, 474, 752, 1444, 1678? ; and see
Askos.
Winged animals, 373 ; Aphrodite, 543,
746 ; Athene, 544 ; boy, 633, and see
1 5 16 and Harpocrates and Eros;
caduceus, 802, 875, 1 202-1 204, 1208 ;
female figure, 494, 495 ; goat, 364 ;
goddess, 547, 617, 625, 646, 695, 723,
3206 ; head, 759-761 ; leopard, 1775 ;
lion, 393 ; petasos, 588, 618, 640, 801,
805, 1201-1204, 1206, 1208, 1210-1213,
1215, 1216, 1218, 1222, 1223, 1225, 1226,
1228, 1233, 1235, 1236, 2252; endro-
mides, 244, 249, 487, 543, 576, 1220,
1223; sandals, 855, 856; shoes, 700;
wheel, 136 ; Lasa, 623, 701, 702
Wings of Nike, 1728
Winter, 1521, 1522
Wolf, 394,745, 2958?, 3204; head of,
1777?, 2483; skin of, 788; suckling
twins, 872, 1581, 1582
Women stabbing each t ther, 181
Woollen fillet, 1244
Worshippers (?), 543
Wrestlers, 639, 853
Xoanon, see 204, 496
Zethos, 1455
Zeus, 274?, 275, 786, 9°9-939, 958, 2487?,
2519 ; at birth of Athene, 617, 696 ; with
Semele, 637 ; at Judgment of Paris (?),
745; Amnion, 936-938, 2262, 2510;
Clarios (?), 3008 ; altar of, 327, 729, 730 ;
in inscriptions, 251, 264, 327, 887, and
see 253 ; Sabazios, 874, 3216 ; and see
Serapis.
Zougoras, 874
London: printed by William clowes and ^ons, limited, stamford street and charing cross.
Plate II.
ARCHAIC GREEK BRONZES
Plate III.
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ARCHAIC GREEK BRONZES.
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STATUETTES OF ATHENE.
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Museum.
iue of the bronzes Greek Roman
Art NK 7907 . B8 1899
British Museum.
Greek and Roma
Dept. of
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Catalogue of the bronzes,
Greek, Roman, and Etruscai
•:■:•;■■■
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